Janek's Sound/Art/Installation & Music Resource/Review
Some of my own thoughts...
"Music is the Architecture of Sound"
"It's only really interesting if it's also really rewarding"
"Everyone has expectations - Explore and experiment with them"
"Everything in the world has at some point made sound, or been the cause of sound."
"It's not (just) what you do, it's (also) the way that you do it"
"Technology is a tool, not the message"
"Limitation breeds creativity"
"Context is key to concept"
"Think Big, pack small"
a philosophy of life "Survive to thrive"
my home page : audiOh.com
LINK HERE to my new SOUND ART VIDEO LIBRARY PAGE
my live performance set up
The only Minidisc to buy for touring is the Sony MZ-R55 by Sony. Buy it on ebay for around £30. The smallest and last of the first generation minidisc by Sony that has instant track access [no 2-3sec track loading delay time, during a performance, as with all later models]. It has all the physical buttons needed for on the spot editing, unlike via fucking 'menus' on the later models. It's the best there is. The MZ-R30 is also amazing and the industry standard for reporters and amateur field recordists. Totally robust, but a bit big for touring......
TOP TIP - Use the 'Repeat 1' function to make seamless
loops. Only Sony do totally perfect loops without any click or pause.... very
easy to use. I use 3 for concerts.
GO TO: http://www.minidisc.org/part_Sony_MZ-R55.html
HAND HELD 24Bit DIGITAL RECORDER
There is a new version R-09HR. It's a bit longer a bit tougher, but has a few advantages - nice to use in the field - small robust and excellent quality again
It has a speaker on the back which is nice, and has a remote, but still can not edit tracks on the recorder itself which is the joy on a Minidisc.
I Now Use 5 of these R-09HR for recording and projects and also live play back - totally reliable and decent looping
Loads of alternatives on the market - but this one rocks my boat
Edirol R-09 - I bought this and was super impressed. Great size, great onboard mics.. great fucking everything..
[no onboard 'track mark' editing like MD's but hey we have computers for that]
6 years into the 21st century we seem to have the ideal recording device... BUY IT
Edirol R1 is one of the first generation hand held Pro/Consumer digital recorders. Does the job well if you have less cash
It's USB again so you just suck the sound straight onto your computer - marvelous :-> very worth while. bigger than iRiver but almost perfect sound with right input signal and gear.
Works brilliantly with a line level input, and that's the only way I use it [Built in mic is fairly useless, mic input is a bit noisy]
This is now my main recording unit - great for location and concert recording and everything really. I have a 2Gb compact flash card which records about 3 hours at CD quality audio.
GO TO: http://www.edirol.com/products/info/r1.html
JEZ RILEY FRENCH gives an overview of many affordable digital recorders for your please here : http://jezrileyfrench-aquietposition.blogspot.co.uk/2015/12/a-quick-guide-to-hand-held-recorders.html
I use headphones for the majority of my composition work - keep others happy - I then master on studio speakers - many top folks work on headphones
I use Sony MDR-V700 a bit dj looking, but most effective durable and good sound and bass - hey both me and aphex twin use 'em ! + Juan Atkins etc etc
My friend Stephan Mathieu who is a hi spec guy.. uses these - says as good as monitors - I guess the best audeze lcd-x
PROFFESSIONAL STEREO LOCATION RECORDING MICROPHONE
I now use a professional XLR connection X-Y type condenser mic called the Rode NT4. MY god it is amazing. Detailed and low noise and creates a true impression of the sound source indoors and out. Good for close up and ambient recordings. As a condenser mic it is prone to wind gusts - even gentle ones so use a Rycote wind jammer. Bigger but better sound
GO TO: http://www.rode.com.au/?pagename=Products&product=NT4
top 20 over the ear Headphones
RYCOTE WIND COVER for microphone and Edirol R-09
I use Rycote wInd jammers for all my mics outdoors etc. The 'RYCOTE Special 60' is a nice small one that slips over the Rode NT4, the hand held microphonemaddness mic below and my favourite is slipping it over the top of my Edirol R-09
MICROPHONE PRE AMP
With the Rode NT4 I use a Beachtek DXA-10 mic pre amp with stereo XLR connections. This is 9V battery supply with 48V phantom power. Totally silent.
GO TO: http://www.dvwarehouse.co.uk/products.php?cat=188
HANDY cheap LOCATION RECORDING MICROPHONE for recording sounds through the air.
I use a wonderful Microphonemadness.com preamped omni mic for location recordings, with a Rycote fluffy wind shield. It has stereo gain control knobs, 9V amplification for increased dynamic and dB tollerence, a minjack input for external mics [like a contact mic] perfect. Good ambient sound in, good stereo, and is small and light, loud signal. bit noisy but been fine for me for most spatial recordings for a few years.
GO TO: http://www.microphonemadness.com/products/mmpreamsterm.htm
CONTACT MICROPHONE for recording sounds through surfaces.... the sounds of architecture
The Schaller 'Oyster Mic' is the best and most robust contact microphone. Robert Hampson told me about it, and ever since, the World of Sound flourished in front of my ears. Records sound through the vibration of surfaces rather than air. Fantastic source material everywhere. get a good one now.. the cheap ones are not as good - feedback, and no sticky stuff etc
GO TO: http://www.touchstonetonewoods.co.uk/ttwp46.html [product code for that site 5723]
ON STAGE Instrument/vocal MICROPHONE
I recently started to use either a BeyerDynamic M201 [industry standard] or an Audix OM3 [flatter and truer sound specification than a Sure SM57/58] dynamic microphones for using to play instruments live on stage. High gain, high anti feedback properties
GO TO: http://www.audixusa.com/products.html
GO TO: http://www.beyerdynamic.co.uk/datasheets/m201.pdf
The only mixer I use is a Mackie 1202VLZ pro. Solid, agile, small, powerful, industry standard, affordable, and an instrument itself. all their products are amazing. [but if cost is an issue then Bheringer do decent chaep copies to be starting with]
GO TO: http://www.mackie.com/products/1202vlzpro/
DOD DFX 94 : 4 sec [can be tweaked to 6 sec] sample, smooth infinity and smooth pitch shifting. My favourite and best loop pedal there is for the size and money
Digitech Echo/Plus PDS 8000 delay/looper this is pretty much the same as the marvellous DFX94 above but with 8 seconds brother ! well worth the cash
TINY 4 port USB Hub
Model UH-174 is an amazing mini 4 port hub with integrated USB connector, and cheap as chips here
PITCH & REVERB & EQ PEDALS
Boss PS-5 : great pitch pedal
Digitech Digiverb : great reverb pedal
Boss MT-2 : great EQ pedal
Loop Pedal information/discussion website: http://www.loopers-delight.com/loop.html
MP3 PORTABLE RECORDER
iRiver make tiny 256+Mb MP3 players that can interface with a Mac OS9 & OSX via USB. It also has Line Level input for field recording. I used to use the iRiver iFP-390T for my location recordings - tiny, reliable and good enough. not really professional, but as my work and sounds get tweaked - it does the trick, and it stays in my bag without worry or weight......
replaced by my edirol R-09
GO TO: http://www.iriver.com/product/info.asp?p_name=iFP-390T
info on kits: http: click
info on readymade light organs: click
The most important thing you own is your data... your work, your photos. your tunes.
I've had sudden motherboard and hard drive deaths
ALWAYS BACK UP - it is so easy and cheap now
eg: I use Freecom Tough drive 1TB for £125 or my WD My Passport of Mac 2TB
and the software then just analyses what has changed on your system, and saves it Really fast
Buy as many GB's as they make in the smallest size unit.
I ALSO KEEP 2 or more other hard drives and back up to them often.. I also send drives to relatives houses etc in case of fire... I do not store my work online
I am in control of where my data is... I also have a small fire and waterproof safe for data...... and keep a backup in there...
whenever I fill up a drive.. I just keep in safe as a new one is so cheap
INTERNET OVER THE HOME ELECTRICAL CIRCUIT !!!!!
You can indeed send the internet from your router via the mains sockets in the wall to any other socket connected to your main fuse board
Totally wild.. I got it down the the shed 100feet at the end of the garden and it took exactly 55seconds to instal.. just plug an ethernet cable at eitehr end THAT IS IT.
Get a 200MBPS speedy one like this
Info page for all sorts of opportunities - go on make a deadline and apply now... opportunities deadlines and ideas will flourish.
Artist News Letter magazine - if you subscribe you get access to a long list of international opportunities
Mac Classic OS9 eummulator run classic apps on an intel Mac
I used an app called SoundEdit 16 for all my composiion work. It is the most basic cut&paste&layer&pitch programme I know. Very simple intuitive and powerful.
I have been using it since 1995 and it's like my painters palette or my sculptors tools kit.
So I knew I could not run it on the new Intel Macs that do not support OS9.. I thought...
BUT i then found a way to use SheepShaver to run all OS9.1 and below software on an intel YES!
I joined Demoinoid.com [recommended to use alias and other email account]
Using Transmission App which is an all inclusive ClassicOS9 app that sorts out all the impossibly hard stuff for you to enable to you launch OS9 on an intel mac... for all Apps....
Then I used the instructions below to make a new disc image .dmg, and using SSSetup GUI, I added it to the launch set up to load the new HD automatically.
Creating a Shared Hard Drive
Here's how to create a hard drive you can share between your OSX environment and SheepShaver:
Launch Disk Utility (/Applications/Utilities/Disk Utility.app).
Click on the "New Image" button in the toolbar.
In the sheet that's displayed, navigate to where you want to store the shared hard drive image file (I like to keep it in the SheepShaver folder), and save it with a name that means something to you (mine is called "SSShared" and I'll use that for this example), of a size that you like (or you can leave the default "40MB"), with Encryption set to "none", and Format set to "read/write disk image". Disk Utility will create the image file "SSShared.dmg", and mount it on the desktop.
In Disk Utility, select the SSShared.dmg image and click the Eject button.
Quit Disk Utility.
Launch SheepShaver GUI.
On the Volumes tab, click "Add..." and select "SSShared.dmg"
Click "Start" to run SheepShaver. It should mount the volume "SSShared" on the desktop, and you can start copying files to/from it.
The only caveat is that you get very unpredictable results if you attempt to keep the .dmg mounted in OS X at the same time as SheepShaver is running with the drive being displayed... files have been lost and the .dmg can get corrupted, so make sure you fully unmount the drive (imagine you're putting something on a floppy in one machine to carry to the next machine).
I dropped Soundedit into this new Hard Disc folder in OS9, made an alias on the desktop & I managed to get SoundEdit working just fine so far in two clicks of my mouse !
This process may well work for your lost OS9 App... search SheepShaver online to find out more top tips and issue fixing etc... good luck - it works
I also now keep an old 12" Powerbook G4 to run Sound Edit
***NOTE: in 2012 I have found a pretty close audio editing programme similar to the magestic Soundedit16
Replacement programme is call Amadeus Pro it has variable pitch and speed controls too.. I like it and now is my main pitch shifting prog
no keyboard screen interface but I use semitone controls instead
+ALSO I FOUND THIS TO BE AN EXCELLENT FULL FEATURE EDITOR - FREE Wavepad does not have multi track option so far like the Amadeus Pro
A mini history of the conceptual record as art work : click
Short descriptions of different art categories: click
A short introduction to 100 years of Sound Art click
www.ubu.com : Wacking great info site on sound art etc with sounds and publications etc - wicked archive
"the definitive online Archive of the Avant Garde Arts"
the first ever recorded sound
: Article about a UK composer being sued for using 'Cage' silence in his music!
http://www.sr.se : Amazing idea to type in words and have them sung by famous stars for you
http://www.databaseaudio.co.uk : Great site for online music making toys of lots of different kinds
www.mumbleboy.com : Mad and fun Flash animation with sounds
http://www.reverberant.com : interface sound artworks
www.silophone.net : Grain silos that you can upload/broadcast audio into from the website
http://www.soundkiosk.com/ : I think a rather bizarre sound portrait maker's site
http://www.dmcworld.com/decks/ : Online mixing decks!
www.composersdatebook.org : Modern and Classical composers info link page
www.kunstradio.at : Contains commissioned work by contemporary sound artists
www.discogs.com : Usuable site for looking up info on folks
Audiohyperspace : Recent audio (+web) art activities webzine
www.groovylab.com : Nice MP3 web zine
www.tinfoil.com : Ancient Wax cylinder info and recordings from 1800's onwards
www.phonography.org : Site dedicated to the art of field recordings
http://www.oddmusic.com : great site for weird DIY instruments
http://www.mattheckert.com : sound machines by Matt Heckert
http://www.the-phone-book.com : mobile phone text art site
http://www.sonicarchitecture.com : environmental/kintetic sound art site
www.contour.net : Live performance archive site of real audio and real video
http://www.abc.net.au : DIY Australian music
http://www.showstudio.com/projects/anechoic/movies/ : The sound of clothes and a naked lady playing with them
: historical sound art links page
www.hertz-lion.com : A great musician & festival & info link site
http://www.sounddesign : Australian soundart community activities
www.uclm.es : List of historical sound art exhibitions and publications
http://www.emf.org/ : Electronic Music Foundation information
: large archive dedicated to open source VST plugins
http://www.traxmusic.org/TraXmusic.shtml : friend recommended computer music discussion site
http://www.sectionz.com/home.asp : software and hardware reviews
http://www.studio-kura.com/download/retroplayer/index_e.html : Retro software record player - filters your music through a gramophone
Alvin Lucier : click The king of conceptual experimental electronics performance work. 'I am sitting in a room' is my fav sound art work
Philip Jeck : click The master man of record player manipulation with concerts and installations
MAIN: click Wonderful electro-acoustic composer known originally for guitar manipulations
John Duncan : click Known for powerful soundscapes of radio static. One of my fav concerts ever
Martin Tetreault : click Experimental turntablist from Montreal... wickedly funny guy
Justin Bennett : click Microphone field recording collage master
David Tudor : click The prince of 60/70's experimental electronics performance work
Aube : click Japanese musician known for making composition with a specific sound source each time [like just the bible or water or ...]
Francisco Lopez : click Spanish musician who makes the audience wear blindfolds to focus on the inner quality of pure sound experience
James Turrell : click Master at using the perception of light change in architectural contexts
Gordon Matta-Clark : click Very fantastic DIY site specific installation artist using buildings and space film and photography
Semiconductor : click Favourite web design site, film, animation & music
Achim Woolscheid : click Technical site specific sound sculptor
Andy Goldsworthy : click beautiful time based site specific nature artist
Christina Kubisch : click Radio/sound transmission installation expert
Janet Cardiff : click 'Sound Walks' installation artist
Christian Marclay : click Visual artist and popular face of the 'record as artwork': history of record in art
Pierre Schaeffer : click Inventor of Musique Concrete and godfather turntable manipultion
Carsten Nicolai : click Contemporary slick digital music and sound art maker
Mark Bain : click Known for making buildings shake with resonators
John Cage : click Imaginary Landscape 1 [1939 recording ] is my fav turntable composition [apart from my own of course!]. History of 4'33
Max Eastley : click Maker of interesting instruments and improvisor since the 60's
Max Neuhaus : click Said to have invented the term 'Sound Installation'
Baschet Brothers : click French brother who made loads of cool resonant sound sculptures
Martin Arnold : click chap who plays with slice of film and sound
Tonne/Paul Farington: click Sound and internet interface creator - soundtoys programme
Golan Levin: click First rate interactive and online sound to image making software author.
Jonah Brucker-Cohen: click First rate online interface artist working with sound and web data for many interesting projects
Erik M : click vinyl/turntable and related aritst from France
Erik Bunger : click sound artist who created the wonderful 'let them sing it for you' project and others
David Tinapple : click video/audio/data artist
Chris Watson : click Enviromantal Sound Recordist
Haroon Mirza : click modified bits an bobs sound sculptures
Charlemagne Palestine : click underground master of minimalism and a great inspiration in being free and funny
Eliane Radrigue : Click Short film portrait
Stephan Mathieu : Click essential sensuous sound sculptor
Brian Eno : Click Interview on BBC [available in the UK only]
Corey Arcangel : Click inventive intermedia artist from USA
list begun in 2005......there are more now!!!!!!!!!!!!!
a TIMELINE guide of SOUND ART EXHIBITIONS 1964-2004
recent purchases 2012/13 I can see next to me on desk:
Perfecting Sound Forever: Greg Milner
Last Night a DJ Saved my Life: Bill Brewster & Frank Broughton
Sound Design: David Sonnenschein
The Sound Effects Bible: Ric Viers
NOISE a human history of sound and listening: David Hendy
The Story of Music: Howard Goodall
Janek's Library by about 2005: a small growing selection..still need to do more updates as with everything on this page
'Audio Culture' THIS IS A MUST for anyone into finding out all about interesting sound/art and music.
Lots of texts by key figures from the 20th Century. It's the first book you shluld read ESSENTIAL stuff in one well presented spot.
edited by Christophe Cox and Daniel Warner (continuum) ISBN 0-8264-1615-2... more info here
'Sound Art' Alan Licht [Rizzoli] I'm in that one - so it's a great book !
'The Fundamentals of Sonic Art and Sound Design' Tony Gibbs [AVA/Academia]
'Handmade Electronic Music [the art of hardware hacking]' Nicolas Collins fabulous book on DIY music circuits.
LeafcutterJohn has a v useful resource page that includes a list of all the components you need to work with the book and a one stop shop to buy them I believe!
Acoustics of Buildings The Davis A.H. (Bell)
Architectonic Space Van Der Laan, D.H. (E.J.Brill)
Architecture and Disjunction Tschumi, B. (M.I.T.)
The Concept of Music R, Smith Brindle (Oxford Press) ISBN 0-19-816388-6
The New Music R.Maconie, (Oxford Press) ISBN 0-19-315468-4 Avant Garde music composition since 1945
Experimental Music Michael Nyman (Cambridge Press) ISBN 0-521-65383-5 Written in 1972 a classic text on the emergence of 'interesting' music & pictures :->
American Minimal Music Wim Mertens (Kahn&Averill) ISBN1-871082-00-5 Very accessible chapters on the key composers
Conversing with Cage R.Kostelantz,(Omnibus)
Audio F.A.Wilson (B,Babani, 1990) ISBN 0-85934-086-4 Technical book about the mechanics/physics of audio production. Good for how things work
Experiencing Architecture S.E. Rasmussen, (M.I.T.)
Images of Place Goodey, B. (Birmingham University)
Mans Perception of Man-Made Environment Hesselgren, S. (D.H.R.press)
Music, Sound, and Sensation Winckel, F. (Dover) ISBN 0-486-21764-7
On Sonic Art T. Wishart, (Imagineering Press)
Perception Hochberg, J.E. (Prentice Hall)
The Senses as Perceived as Perceptual Systems Gibson, J.J. (Unwin)
The Soundscape: Tuning of the World R. Murray Schafer, ISBN 089281455-1 Classic book on general ideas, classifaction and function of sound (Destiny Books 1994)
Under the Jaguar Sun Calvino, I. (Vintage) little stories about sound
Wireless Imagination D.Kahn, G.Whitehead, (M.I.T. Press) ISBN 0-262-11168-3 Collection of essays on sound, radio and the avant garde [no pictures :-<]
Installation Art Art & Design A journal of widespread ideas
Rain Sun Snow Hail Mist Calm Goldsworthy, A. 1985
Installation Art Archer, M. 1994
Gordon Matta-Clark Serpentine. 1993
House Rachael Whitread (Phaidon) ISBN 0-7148-3459-9 Wonderful book documenting the rise and fall of a terraced house casting
Christo M. Vaisey, (Academy Editions) ISBN 1-85490-101-X Nice big pictures of nice big wrap up art
James Turrell South Bank. 1993
De-Architecture Wines, J. 1987
Plunderphonics, Pataphysics & Pop Mechanics Jones, A. (SAF Publishing) ISBN 0-946719-15-2
Noise Map Justin Bennett. [Spore Records] ISBN 90-808081-1-3 Journal book with text and drawings on installations connected with field recordings
Les Sculptures Sonores [Baschet brothers] F, Baschet (Soundworld 1999) ISBN 1-902440-02-1
Achim Wollscheid, Selected Works (Selektion] ISBN 3-943801-01-3
Auto Pilot Carsten Nicolai, (Raster-noton) ISBN 3-931126-80-3 Contemporary slick book on sounds and installations relating to the science of sound
Frequencies [Hz] [Schirn] ISBN3-7757-1154-6 Book about large audio visual exhibition February 2002, Schirn Kunsthalle, Frankfurt, Germany
there are many more on the market since I first began this list in the early 00's
Recommendations from others:
Janek I can't say enough about the books on errant bodies. my favorite sound lit publishing house. http://www.errantbodies.org
Sound:Space by (and about) Bernhard Leitner, published by Cantz with plenty of interviews and text about Leitner's work.
Janet Cardiff There's a very large monograph on Janet Cardiff that was published by P.S.1. in New York. It includes a CD as well.
Amplitude of Chance: the Horizon of Occourances book and DVD catalog to a gallery show of sound installations at Kawasaki City Museum in Japan. The DVD has virtual walk-through of the installations by Jio Shimizu, Achim Wollschied, Minoru Sato, Roel Meelkop, Toshiya Tsunoda... . It also includes six essays
about sound installation, and an overview of the show by Sato. The book itself is fantastic-looking!
Book for the Unstable Media Alex Adriaanses et al. (eds). The Hague: V2,1992.
Voice Over: Sound and Vision in Current Art London: Hayward gallery, 1998.
Radio Rethink: Art, Sound & Transmission Daina Augaitis and Dan Lander (eds.). . Walter Phillips Gallery, 1994.
Breaking the Sound Barrier: A Critical Anthology of the New Music Gregory Battcock (ed.) New York: E.P. Dutton, 1981.
Broken Music: Artists Recordworks Block, Ursula and Michael Glasmeier (eds.). . Berlin: DAAD, 1989.
Surface Tension : Problematics of Site Ken Ehrlich & Brandon LaBelle (eds.) Los Angeles: Errant Bodies Press, 2003.
Franck, Philippe (ed.). Musiques Nouvelles : Sons en mutation. Bruxelles: La lettre volée, 2003.
Grundmann, Heidi (ed.). Sound Drifting. Vienna: Triton Verlag, 2000.
Hatanaka, Minoru and Takeo Nozaki (curators). Sound ArtSound as Media. Tokyo: NTT, 2000.
Hess, Felix. Light as Air. Heidelberg: Kehrer, 2001.
Kahn, Douglas. Noise Water Meat: A History of Sound in the Arts. MIT Press,1999.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Trans. Geoggrey Winthrop-Young and Michael Wutz. Stanford University Press, 1999 .
Kostelanetz, Richard (ed.). TEXT-SOUND TEXTS. New York: William Morrow, 1980,
Kruth, Patricia and Henry Stobart (eds.). Sound. Cambridge University Press, 2000.
LaBelle, Brandon & Steve Roden (eds.). Site of Sound: Of Architecture and the Ear. Los Angeles: Errant Bodies Press, 1999.
LaBelle, Brandon & Christof Migone (eds.). Writing Aloud: The Sonics of Language. Los Angeles: Errant Bodies Press, 2001.
Lander, Dan and Micah Lexier. Sound by Artists. Toronto: Art Metroploe, 1990.
Lucier, Alvin. Reflections. Köln: MusikTexte, 1995.
Marchetti, Lionel. La musique concrète de Michel Chion. Metamkine, 1998.
Marchetti, Walter. Walter Marchetti. Morris and Helen Belkin Art Gallery University of British Columbia, Vancouver, 1999.
Morris, Adalaide, ed. States: Innovative Poetics and Acoustical Technologies. University of North Carolina Press, 1997.
Neuhaus, Max. Drawings: sound works vol. II. & Place: sound works vol. III. Cantz Verlag, 1994.
Newman, Hayley. Performancemania. London: Matts Gallery, 2001.
Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge University Press, 1999 .
Pagé, Suzanne et al. (curators). Écouter par les yeux: objets et environments sonores. Musée dArt Moderne de la Ville de Paris, 1980.
Phillips, Christopher (curator). Voices Voces Voix. Le Fresnoy, 2000.
Snow, Michael. Music/Sound. Art Gallery of Ontario/The Power Plant.
Strauss, Neil, ed. Radiotext(e). New York: Semiotext(e), 1993.
van Assche, Christine, ed. Sonic Process: une nouvelle géographie des sons. Éditions du Centre Pompidou, 2002.
van Peer, René. Interviews with Sound Artists. Eindhoven: Het Appollohuis, 1993.
Weiss, Allen S. Breathless : Sound Recording, Disembodiment, and The Transformation of Lyrical Nostalgia. Wesleyan, 2002.
Weiss, Allen (ed.). Experimental Sound & Radio. NYU & MIT, 2001. (previously published as issue of The Drama Review TDR Fall 1996 T151).
Weiss, Allen. Phantasmic Radio. Duke University Press, 1995.
Williamson, Aaron. Hearing things. London: Book Works, 2001.
Xenakis, Iannis. Musique Architecture. Casterman, 1976.
Xenakis, Iannis. Les polytopes. Balland, 1975.
The aesthetic ear: sound art, Jacques Rancière and the politics of listening by Matthew Mullane : click
: Simply the best site
specific commissioning organisation there is
Diapason Gallery : New Yorks first gallery dedicated to Sound Art
Invisiblecities : exhibition using location recording from around the world heard on headphones plugged into map
Sonic Boom : redited as first large scale sound art exhibition in the UK, held at Hayward Gallery
Sonic Process : Pompidou Centre touring exhibition of sound art
Matts Gallery : puts on shows with sound sometimes
Frequencies [Hz] : February 2002, Schirn Kunsthalle, Frankfurt, Germany.
66 East gallery : Gallery with a focus on sound art in Amsterdam
CCA - Contemporary Centre for Art : Glasgow gallery with focus on sound
Ensemble : Sound Art show curated by Christian Marclay in Pennsylvania
any recommendations welcome
'Play time' Jaques Tati wry look at the 60's modernist world though visual and sound humour... silent slamming doors etc.. top 5 film for me. and all his other films etc
'Brighton Rock' - 'I Love You' misleading stuck record at the end of film
'Man Bites Dog' - sound man character with microphone approaches camera image with talking voice in factory scene which is integral to plot
'Forbidden Planet' - just a wonderful 1950's original self-made electronics soundtrack by Luis and Bebe Barron
'Der Lauf der Dinge' Video by Peter Fischli/David Weiss - Live chain reaction of objects falling into each other in creative ways with sound
'Alone, Life Wastes Andy Hardy' part of ana amazing body of work using rhythmic editing of a short piece of film to reveal many new and wonderful stories. Recontextualising Hollywood..... by Martin Arnold buy it from http://www.index-dvd.at/en/program/018/index.html
Schaller Oyster contact mic: click
Stereo Omni pre amped mic I use: click
info on kits: http: click
info on ready made: click
short run cutting The Carvery London
Forced Exposure: click
Rough Trade: click
audiOh! Kiosk: click
Schizophrenic Records: click
Small Fish: click
Music Stack - Worldwide specialist music store : Search 14 Million Rare Music CDs and Vinyl Records at MusicStack
Easybe 1-2-3 music download store - let people download your music for money!: click
Branson Coates: click
de Rijke Marsh Morgan: click
OMA/Rem Koolhaas: click
Tadao Ando: click
Urban Salon: click
Zaha Hadid: click
Pat & Trevor curation team in london click
My Top 10 chart for Dusted.com click
BBC Radio interview at Sonar 2002 click
Invisible Cities : Exhibition in Belfast: click
WNYC New York Radio interview: click then scroll down to 08.17.02 'Vinyl'
M-Station interview: click
Guardian 'CD of the Week': click
Friend of the Devil interview: click
Carola Mag interview: click
Chicago Tribune Review: click
Turntablist article: click
Ear Room interview: click
Audi-Oh Vibrator, I kid you not: click
The World's Smallest Record Player: click
Philip Jeck & Mike Harding interview on WMFU Sept 2012 : Touch 30yrs Tour in NYC
www.mumbleboy.com : Mad and fun Flash animation with sounds
Amazing tour through the ghost town of Chernobyl click
A great international and very competative COMPUTER MEMORY SUPPLIER
with all sorts of simple money saving features MemorySuppliers.com
Andersen, N. A., N. A. i. i. N. Andersen, et al. (1986). "Phonic sculpture: mechanically actuated musical instruments in a sculptural
context." Leonardo 19(2): 99-106.
Assche, C. v., D. i. B. Gordon, et al. (2000). "Douglas Gordon: a new generation of readymades." Art Press(255): 27-32.
Attali. J. (1985). Noise - The Political Economy of Music, University of Minnesota Press.
Augaitis, D. L., Dan (Ed) (1994). Radio rethink: art, sound and transmission - selected survey of radio art in Canada, 1967-1992.
Banff, Alberta:, Walter Phillips Gallery, Banff Centre.
Backlund, N. (1989). "Sounds like fun." ID 36: 85.
Bandt, R. (1985). Sounds in Space, Wind Chimes and Sound Sculptures, Victorian Arts Council, Australia.
Bandt, R. (1995). "Sculpting sounds: an introduction to sound sculpture in Australia." Art and Australia 32: 536-47.
Bandt, R. (2000). "Sounding spaces, acoustic world: Australian sound designs." Public Art Review 11(2): 23-6.
Barbieri, H. D. (1990). "Sound vision." High Performance 13: 79.
Barbosa, A. (2003). "Displaced Soundscapes:A survey of network systems for music and sonic art creation." Leonardo Music Journal 13: pp 53-59.
Baschet, B. and F. Baschet (1987). "Sound sculpture: sounds, shapes, public participation, education." Leonardo 20(2): 107-14.
Battcock, G. (1981). Breaking the Sound Barrier, A Critical Anthology of New Music, Dutton.
Baudrillard, J. (1995). Simulcra and Simulation University of Michigan Press.
Benjamin, W. (1968). The Work of Art in the Age of Mechanical Reproduction. New York, Schocken Books,.
Bennett, M. V. (1985). "Sounded, sounding, to sound: sound and the seduction of the visual artist." High Performance 8(3): 34-8.
Berk, A. (2000). "'Rooms for listening' at CCAC." Artweek 31(11): 17.
Berry, R., Dahlstedt (2003). "Artificial Life: Why Should Musicians Bother?" Contemporary Music Review 22(3): 57-67.
Bertrand, V. (2004). "Quand l'art dialogue avec le son." Connaissance des Arts(619): 102-7.
Bickel, S. (July-Aug. 2005). "Carston Nicolai: crystalline beauty in mathematical space." Sculpture vol. 24(pt. 6): pp. 40-45.
Blackwell, T. and M. Young (2004). "Self-organised Music." Organised Sound 9(no2): 123-136.
Blain, F.-A. (Jan. 2004). "Questions sur Audiolab 3: le son en reconnaissance [Questions about Audiolab 3: in appreciation of sound]." Beaux Arts Magazine (France)(no. 236): pp. 32.
Bouruet-Aubertot, V. (1999). "Art et son: en phase de resonance." Beaux Arts Magazine(178): 33.
Briers, D. (Dec. 2001-Jan. 2002). "Janet Cardiff." Art Monthly (U.K.)(no. 252): pp. 45-6, 1 illus.
Briers, D. (May 1999). "Acoustic shadows." Art Monthly (U.K.)(no. 226): pp. 34-5, 1 illus.
Bull, H. (1979). "Boy Can See With His Ears." Lecture/performance at AUDIO SCENE'79.
Bull, H. and R. Adrian. (1979). "Sound On - Audio Scene '79 at Modern Art Galerie, Vienna." Retrieved May 15th, 2006.
Bull M., B. L. (2004). The Auditory Culture Reader, Berg.
Burger, P. (1985). Theory of the Avant-Garde Translated by Michael Shaw., University of Minnesota Press.
Byrne, D. (2002). "Machines of Joy: I Have Seen the Future and It Is Squiggly." Leonardo Music Journal 12: pp 7-10.
Cage, J. (1978). Silence, Marion Boyars.
Caillaud, B. (1997). "Sonagraphic art." Leonardo 30(1): 67.
Cascone, K. (2000). "The Aesthetics of Failure." Computer Music Journal 24.
Cascone, K. (2002). "Laptop Music - Counterfeiting Aura in the Age of Infinite Reproduction." Parachute(no 107): pp 52-9.
Cascone, K. (2006). Composing Emergent Sound Art using Simple Genetic Algorithms. Goldsmith's College of Art.
Castant, A. (1996). "Experiments in aural objecthood." Art Press(211): 44-8.
Caux, J. (2002). "New York, new sound, new spaces: Musee d'art contemporain." Art Press(280): 12-14.
Chadabe, B. (2000). "Sounding places: works by Ron Kuivila." Public Art Review 11(2): 27-8.
Chadabe, J. (1997). Electric Sound: The Past and Promise of Electronic Music. New Jersey,USA, Prentice-Hall.
Chanan, M. Musica Practica.
Chasalow, E. (2006). "Composing from Memory:the convergence of archive creation and electro-acoustic composition." Organised Sound 11(1): pp
Chattopadhyay, C. W., Josef (1992). "Noisemakers: sound art in the nineties." Artweek (U.S.A.) vol. 23(no. 16): pp. 4-5, 3 illus.
Chion, M. (1991). L'art du son fixes, Editions Metamkine Fonataine.
Clark, R. (Sept. 2003). "Janet Cardiff." Art Review (U.K.) vol. 54:pp. 105.
Collins, N. (2003). "Groove, Pit and Wave." Leonardo Music Journal 13: pp 1-3.
Conomos, J. (1995). "Sound in space." Art and Australia 33: 283-4.
Conrad, T., T. i. I. M. Oursler, et al. (2003). "Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler." Grey Room(11): 44-57.
Cooper, T. (2004). "Ryoji Ikeda." Contemporary(no. 68): pp. 30-5.
Coyle, R. Sound in space: adventures in Australian sound art.
Cranfield, B. (2002). "Producing Noise: Oval and the Politics of Digital Audio." Parachute(107): 42-51.
Crowe, N. (2002). "Bandwagon Jumping: The International 3, Manchester." Art Monthly(262): 35-6.
Cunningham, D. (2000). "Sonic boom: Hayward Gallery, London." Art Monthly(237): 34-6.
Cutler, C. (2004). "A History of Plunderphonics." Retrieved 19th January 2004, from http://www.l-m-c.org.uk/texts/plunder.html.
Dahlstedt, P., Berry, Rodney, Haw, Catherine Gakki-mon Planet.
Dahlstedt, P. (2001). Mutasynth.
Davis, R. (1996). "Sound art: some notes away from definition." Artweek 27: 11-12. de la Motte, H. L., Bernhard; and Schulz, Bernd (Editors) (2003). Resonances.
de la Motte-Haber, H. E. b. e. b. K., Christian; Osterwold, Matthias; Weckwerth, Georg; Schafer, R. Murray; Breitsameter, Sabine; Föllmer, Golo; Straebel, Volker; Kahn, Douglas; Baurmann, Gisela; Sanio, Sabine; Barthelmes, Barbara; Glasmeier, Michael (1996). Klangkunst [Sound art]. Munich; New York:, Prestel. de Ruyter, T. (Sept. 2005). "volume minimal: un art de la projection du son/Sound art minimal elements." Art Press(no. 315): pp. 49-54.
Debord, G. (1967). Society of the Spectacle. Boston, USA, Zone Books, MIT Press.
Deleuse, G. (199?). Cinema 2: The Time-Image.
Deleuze G., G. F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia, University of Minnesota Press.
Dessaignes, M. (2002). "Images Amplifiees." Parachute(no 107): pp 118-23.
Dick, T. (2001). "Sightgags and soundtricks." Border Crossings 20(2): 125-6.
Driscoll, J. R., Matt "David Tudor's `Rainforest': an evolving exploration of resonance." Leonardo Music Journal vol. 14, 2004: pp. 25-30.
Drobnick, J. E. (2004). Aural Cultures: Sound Art.
D'Souza, A. (2002). "A World of Sound." Art in America 90(4): 110-15, 161.
Duchamp, M. (1957). The Creative Act.
Duckworth, W. (1999). "Making music on the web." Leonardo Music Journal 9: 13-17.
Dunn, D. (??). "Nature, Sound art and the Sacred."?? ??(??): ??
Egan, D. Concepts in Architectural Acoustics, McGraw`Hill Book Company.
Eisenberg, E. (1987). The Recording Angel. Yale, Yale University Press.
England, P. (2002). Making the Nature Scene. The Wire: pp41-47.
Epplay, V. (2002). "De la singularite du son." Parachute(107): 94-7.
Exley, R. (2000). "Sound effects." Blueprint(170): 64.
Fisher, J. A. (1998). "What the hills are alive with: in defense of the sounds of nature." The Journal of Aesthetics and Art Criticism.
Fletcher, A. (2000). "Sound effects--strategies of evocation." Make, the magazine of women's art.
Föllmer, G. (2005). "Lines of Net Music." Contemporary Music Review.
Fontana, B. (May 1990). Landscape Soundings / KlanglandSchaften. Vienna.
Fox, T. Exploring the Limits.
Francblin, C. (2000). "Malachi Farrell: Shock Horror History." Art Press(no 258): 30-2.
Frisk, H. and M. Yoshida (2005). "New Communications Technology in theContext of Interactive Sound Art:an empirical analysis." Organised Sound 10(2): pp 121-127.
Furlong, W. (1994). "Sound in recent art." Art & Design 9: 62-7.
Garnett, G. E. (2001). "The aesthetics of interactive computer music." Computer Music Journal 25(1).
Garry, M. "A survey of four Contemporary Sound Artists." Retrieved April 16th, 2006, from Vibrofiles_com-
Gaskin, V. (1998-1999,). "Adam Chodzko in discussion with Robin Rimbaud (aka Scanner)." Everything (U.K.) vol. 2(no. 4): pp. 16-20, 6illus.
Gaye, L., M. Jacobs, et al. (2003). "Sonic City: The urban Environment as a musical interface." from http://www.viktoria.se/fal/projects/soniccity/pdf/NIME03_Gaye.pdf.
Gervais, R. (2002). "Electric Readymade." Parachute(no 107): pp 32-41.
Gilman-Sevcik, F. G.-S., Tim (March-April 2002). "Janet Cardiff."
Flash Art (Italy) vol. 34(no. 223): pp. 102, 1 illus.
Glass, P., Subotnick, Morton, Miller,Paul (aka DJ Spooky),Moran,John, Riesman, Michael. "Music and Technology: A Roundtable Discussion." Andante - Everything Classical Volume, DOI:
Goldsmith, K. (2000). "Silence in the museum." Nu: the Nordic Art Review (Sweden) vol. 2(no. 5): pp. 14, 1 illus.
Gorman, S. (March 2003). "Wandering and wondering: following Janet Cardiff's missing voice." Performance Research vol. 8(pt. 1): pp. 83-92,.
Graham, B. (2002). "Groove: Huddersfield Art Gallery." Art Monthly(262): 36-7.
Greenberg, C. (Oct 1981). "Intermedia." Arts Magazine (U.S.A.) Vol.56,(no 2): pp 92-3.
Gysin, B. "Sound Waves, Cut-up Method." Volume, DOI:
Harris, M. (1998). "Noises Off." Art Monthly(219): pp 1-5.
Hayashi, Y. and N. i. U. s. Shibata (2000). "Recent sound art in Japan." Public Art Review 11(2): 29-30.
Hecker, T. (2002). "Sound and "The Victorious Realm of Electricity"." Parachute(no107): pp60-7.
Helfand, G. (2000). "Breaking the sound art barrier." Art & Auction22(14): 60-1.
Henri, A. (1974). Environments and Happenings. London, Thames & Hudson.
Henry_Cow Amygdala. mp3.
Hinant, G.-M. (2003). "Tohu-Bohu: Considerations on the nature of noise in 78 fragments." Leonardo Music Journal 13: pp 43-46.
Huberman, A. (May 2005). "The sound of space." Art Review vol. 56: pp.54-59.
Irvin, S. (April 2005). "Appropriation and authorship in contemporary art." British Journal of Aesthetics vol. 45(pt. 2): pp. 123-137, bibliog.
Kahn, D. (2001). Noise Water Meat, MIT Press.
Kahn, D. (2006). "Sound Art, Art, Music." Retrieved 28th April 2006.
Kahn, D. W., G., (1992). Wireless Imagination, Sound, Radio and the Avant-Garde, The MIT Press.
Kangas, M. (1996). "SoundCulture 96." Sculpture 15: 60.
Kelly, E. (2006). "Deconstructing Speech: new tools for speech manipulation." Organised Sound 11(1): 73-80.
Kihm, C. and C. Penwarden (2004). "Exposer le son / Sound and Vision: Noise in the Art Museum." Art Press(306): 46-50.
Kim-Cohen, S. (May 2005). "The lost voice." Art Review vol. 56: pp. 66-69,.
King, E. A. (2002). ""Visual sounds: parts I & II": The Mattress Factory." Sculpture 21(5): 70-1.
Kofoed, K. (2003). "The Sound of Art: A Conversation with Steve Roden." Artweek 34(8): 12, 29.
Kraabel, C. (2005). Danger:User Serviceable Parts. Resonance - Locality & Reproduction Issue. 10: pp 35-39.
Kubisch, C. Travelling to Another Planet.
Labelle, B. (1999). "The sound of music: contemporary sound-art and the phenomenal world." Art Papers 23(2): 36-9.
Labelle, B. (2000). The Walls have Ears. The Wire.
LaBelle, B. (2003). "Short circuit." Contemporary(no. 53-54,): pp. 66-71, 6 illus.
LaBelle, B. (Sept.-Oct. 2000). "A point within a circle: Brandon
LaBelle interviews Pauline Oliveros." Art Papers (U.S.A.) vol. 24(no.5): pp. 16-21, 6 illus.
Lamm, A. (March 2002). "Carsten Nicolai." ARTnews (U.S.A.) vol. 101(no. 3): pp. 130, (1 colour).
Landi, A. (Dec. 2001). "Sonic boom." ARTnews (U.S.A.) vol. 100(no.11): pp. 106-7, (4 colour).
Lane, M. (Feb. 2003). "Sound advice." How vol. 18(pt. 1): pp. 36, 38,40, 41, 45-6.
Lapp, A. (2002). "Hommage a John Cage." Art Monthly(255): 47-8.
Laumonier, A. (2000). "Londres sonic boom: the art of sound: Hayward Gallery." Art Press(259): 69.
Lista, M. (Sept. 2002). "L'oeil de Christian Marclay [The eye of Christian Marclay]." Oeil (France)(no. 539): pp. 28-9, (2 colour).
Lopez, F. (1996) "Cagean Philosophy: a devious version of the classical procedural paradigm." Volume, DOI:
Lopez, F. (1998) "Environmental sound matter." Volume, DOI:
Lopez, F. (January 1997). "Schizophonia vs. l'objet sonore: soundscapes and artistic freedom." Retrieved April 16th, 2006.
Lopez Rojo, A. (Feb. 2000). "Ars Sonora [Resonant art]." Lapiz (Spain) vol. 19(no. 160): pp. 78-89, 14 illus. (5 colour) bibliog.
MacDonald, C. (Sept. 2005). "His raw materials - Bruce Nauman at Tate Modern." PAJ vol. 27(pt. 3, no. 81): pp. 93-100.
Mandelis, J., Husbands, Phil (2003). "Musical Interaction with Artificial Lifeforms: Sound Synthesis and Performance Mappings." Contemporary Music Review 22(3): 69-77.
Marcelis, B. (2004). "City Sonics." Art Press(305): 86.
Marclay, C. A., Laurie (May 2005). "All the right notes." Art Reviewvol. 56: pp. 60-65.
Martin, V. (1996). "The last frontier: sound art in Southern California." Artweek 27: 13-14.
Mason, B., S. (2005). "Hitting the High Notes." Art & Antiques 28(12): 56-7.
McLennan, A. (1994). "A brief topography of Australian sound art and experimental broadcasting." Continuum (Australia) vol. 8.(no. 1): pp. 302-17, 3 illus.
McLuhan, M. (1994). Understanding Media: The Extensions of Man, MIT Press.
Meadows, M. S. (2003). Pause and Effect, The Art of Interactive Narrative, New Riders.
Means, D. (2000). "Zone of magnified power: site-specific sound art." Public Art Review 11(2): 18-22.
Migone, C. (Jan.-March 2005). "Frictions: Sound Objects and Surfaces." Parachute(no. 117): Supp. pp. 5-6.
Miller, P. D. "Across the Morphic Fields: The Art of Mariko Mori." Retrieved April 16th, 2006,
Miller, P. D. "Fluid Neon Bright Shadows: The Music of Iannis Xenakis." Retrieved April 16th, 2006,
Miller, P. D. (2002). "On The Record: Notes for the "Errata Erratum" Duchamp Remix Project at LA MOCA."
Montejo Navas, A. (March 2004). "Plastica sonora brasilena/Brazilian sound art." Lapiz (Spain), vol. 23(no. 201): pp. 58-77.
Mulder, R., Allik, Kristi (2002). "Frangrances of Time and Space: An Omniscape Installation."
Neaud, F. (June 2005,). "Bernard Stiegler à l'ircam [Bernard Stiegler
at the IRCAM]." Beaux Arts Magazine(no. 252): pp. 47-49.
Neill, B. (Summer 2003). "Christian Marclay." Bomb(no. 84): pp. 44-51,
4 illus. (3 colour).
Norman, K. (2004). Sounding Art, Ashgate.
Obadike, K. T. (2001). "What's in a name? Seeing Sound Art in Black Visual Traditions." Art Journal 60(no4 4-5).
Ohlin, A. (2003). "New Sound System: Bruce Odland's Tonic." Art Papers 27(3): 10-11.
Oliveros, P. Deep Listening: A Composers' Sound Practice.
Oliveros, P. The Roots of the Moment: Collected Writings 1980-1996.
Oliveros, P. (1984). Software For People: Collected Writings 1963-1980.
Oliveros, P. (1999). "Quantum Improvisation: The Cybernetic Presence." May 15th 2006.
Oliveros, P. (2000). "Quantum Listening: From Practice to Theory (To Practice Practice)."
Ouzman, S. (2001). "Seeing is deceiving: rock art and the non-visual." World Archaeology 33(2): 237-56.
Pare, A.-L. (Winter 2001-2002). "Sculpting the imagination." Espace (Canada)(no. 58): pp. 7-15, 8 illus. (3 colour) bibliog.
Pesch, M. (July-Sept. 2002,). "Transfer and transformation: strategies in the oeuvre of Carsten Nicolai." Parachute (Canada)(no. 107): pp. 80-93, (7 colour).
Phillips, T. (1992). "The Sound in my life (Art Reproduction)." Arts Review 44: 560.
Pollack, B. (Nov. 2004). "Feel the noise." ARTnews vol. 103, pt. 10:pp. 127.
Poschardt, U. (1995). DJ Culture. Hamburg, Rogner & Bernhard GmbH & Co., Verlag KG.
Puckette, M. (2005, July 11). "Theory and Techniques of Electronic Music." Retrieved January 18th, 2006.
Rabinowitz, P. (Sept. 2002). "The sound of reformed space: Liz Phillips's responsive installations." PAJ (U.S.A.) vol. 24(no. 3): pp.35-43, 4 illus.
Reck Miranda, E. (1995). "Granular synthesis of sounds by means of a cellular automaton." Leonardo 28(4): 297-300.
Renoult, J.-P. (2005). "Christian Marclay: ce que vous voyez, c'est ce que vous entendez / Christian Marclay: What You See Is What You Hear." Art Press(309): 18-24.
Risset, J.-C. (June 2004). "The liberation of sound, art-science and the digital domain: contacts with Edgard Varese." Contemporary Music Review(23 (2)): pp.27-54.
Ritchie, M. i. T. f. s., c. Parents and, et al. (2001). "Matthew Ritchie." Parkett(61): 136-75.
Robert, P. (Sept. 2005). "Dialogue: Mark Bain - Sonic interventions." Sculpture vol. 24(pt. 7): pp. 22-23.
Robinson, J. (2004). "The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations." Art Journal 63(4): 96-115.
Roche, H. (1999). "@Sinusoidal' at San Francisco State University." Artweek 30(5): 16-17.
Rosenboom, D. (2002). "Pleasure has an Opposite, or Somewhere over Whose Rainbow?" Leonardo Music Journal 12: pp 73-78.
Rudi, J. (2003). "Norge et lydrike, Norway remixed: a sound installation." Organised Sound 8(2): pp 151-155.
Rumsey, F. (2001). Spatial Audio, Focal Press.
Russolo L. (1916). L'arte dei Rumori, Edizioni Futuriste di Poesia.
Ryan, D. (June 2005). "Ryoji Ikeda." Art Monthly(no. 287): pp. 39.
Samuelsen, G. (1997). "Christian Marclay." New Art Examiner 25: 63.
Sato, M. a. m. s. Japan: part of collective MrK with Toshiya Tsunoda,
Jio Shimuzu, Atsushi Tominaga, Hiroyuki Lida. interest in phenomena of physical world. fluorescent lights, tape machines, speaker amplification, theoretical physics.
Sawyer, R. K. (May 2002). "A discourse on discourse: an archaeological history of an intellectual concept." Cultural Studies 16 (3): p.433-56.
Scarborough, J. and K. i. C. s. Jones (1991). "The Noise machine." Artweek 22: 14.
Schafer, R., M., (1977). The Tuning of the World.
Schoning, K. (1994). "Sound mind sound." Du(6): 40-2.
Schutze, B. (2002). "Montreal Mushroom Gathering:Ruminations on a Town Full of Sounds and Scenes." Parachute(no 107): pp 102-13.
Senn, D. (1997). "Pendulum-based instruments, percussive video, sound art, and the permanence of ephemeral public art." Organised Sound 2 (no.3): 151-63.
Shaff, S. (2002). "AUDIUM: sound-sculptured space." Leonardo (U.S.A.)vol. 35(no. 3).
Shaw-Miller, S. r. (2001). "Analysing musical multimedia (Book Review); Noise, water, meat (Book Review)." Art History 24(1): 139-46.
Sherburne, P. (2004). "Christian Marclay's cochlear implants/Christian Marclays Innenohr-Implantate." Parkett(no. 70): pp. 20-33.
Sherburne, P. (July-Sept. 2002). "Sound art/sound bodies: electronic music's anatomy lessons." Parachute (Canada)(no. 107): pp. 68-79, bibliog.
Simmons, D. (2002). "Deviant Discourses: An Interview with Critical Art Ensemble." Parachute(no107): pp 124-31.
Simon, C. S. (June 2002). "Introduction: following the archival turn." Visual Resources (U.S.A.) vol. 18(no. 2): pp. 101-7, bibliog.
Simula, C. (2005). "MILLESUONI. OMAGGIO A DELEUZE E GUATTARI ",
Sturm, B. L. (2005). "Pulse of an Ocean: Sonification of Ocean Buoy Data." Leonardo 38(2): 143-9.
Sumpter, H. (Sept. 2004). "Shhh.." Art Review vol. 54: pp. 105,.
Tallman, S. (July-Aug. 2000). "Always this Tudelditut: Christian Marclay's `Graffiti Composition'." Art On Paper (U.S.A.), vol. 4(no.6): pp. 28-33, (7 colour).
Thea, C. (Jan.-Feb. 2003). "Inexplicable symbiosis: a conversation with Janet Cardiff." Sculpture (U.S.A.) vol. 22(no. 1): pp. 52-7, (8 colour) biog.
Thorington, H. (2005). "Breaking Out: The Trip Back." Contemporary Music Review 24(no.6): pp. 445-458.
Toop, D. (2004). Haunted Weather, Serpent's Tail.
Toop, D. (Spring 2005). "The art of noise." Tate Etc.(no. 3): pp. 62-69.
van Peer, R. (2002). "Waterfall Music: Broad-Band Sound Sources in the Music of Francisco López." Retrieved April 15th, 2006.
Van Wagner, J. K. C. and V. i. T. c. f. A. Acconci (1984). "Sound art." Arts Magazine 59: 19.
Vibrofiles. "William Furlong." Retrieved April 16th, 2006.
Viola, B. (2002). Reasons for knocking at an empty house: writings 1973-1994. London; New York:, Thames & Hudson.
Viola, B. (2004). "David Tudor: the delicate art of falling." Leonardo Music Journal vol. 14: pp. 48-56.
Weil, R. (2005). "'Visual Music': Hirshhorn Museum and Sculpture Garden." Art News 104(9): 182.
Woodard, J. and R. i. H. o. a. Dunlap (1996). "A conversation with Richard Dunlap, sound artist." Artweek 27: 14-15.
Young, L. e. a. (May 2005). "When does a sound become art?" Art Review vol. 56: pp. 74-77.
Google search for 'Janek' today comes up as #1. Not sure how really, but makes me smile of course.
FILM OF MY STUDIO / SHED
www.pbs.org quote - "Installation : A work of art created for a specific architectural situation, installations often engage multiple senses such as sight, smell and hearing. Installations are generally temporary and stationary... " hmm.... is that right anymore?
sound = an audible vibration, i.e., any vibration that is capable of being heard, whether or not it actually is.