This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.
{"title":"A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan","authors":"Katsushi Nakagawa, T. Kaneko","doi":"10.1162/LMJ_a_01024","DOIUrl":"https://doi.org/10.1162/LMJ_a_01024","url":null,"abstract":"This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48376268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
call from Larry Polansky inviting me to contribute to the premiere issue of Leonardo Music Journal (spun off from the venerable Leonardo journal of art and technology), of which he was the founding editor. Larry’s timing was auspicious: ordinary life was suspended in my Bleecker Street loft as I awaited our firstborn and engaged in rewinding and fast-forwarding the tape of my life. Fearing that the blessed event would render me incapable of composing for months to come, I accepted the offer on the assumption that writing words would be somehow easier than writing music. I was wrong on both counts: the expanded family slipped into a blissful trio state, but writing turned out to be a more serious challenge than anticipated [1]. My previous writing experience had been largely confined to grant applications, concert and liner notes and the odd lecture. Larry’s invitation provided an excuse to indulge in musical self-analysis on a larger, more detailed scale. So, as my son napped, I typed, slowly cobbling together an essay whose style perhaps owed more to the ghost-written sports autobiographies of my childhood than to academic journals but that nonetheless accounted reasonably well for the evolution of my recent musical activities [2]. I found the process cathartic. Over the next few years I became increasingly involved in writing and editing essays, lectures and a book, An Incomplete Handbook of the Phenomenology of Whistling [3]. Self-reflection gave way to broader analyses of the interaction of musical aesthetics with technological, social and economic developments. Writing became an integral part of my life. Seven years after Larry’s phone call, I found myself sitting in a sunny Berlin apartment with my new daughter in my lap, while fellow composer Jonathan Impett prodded me to apply for the now-open position of Editor-in-Chief of LMJ. A paternal déjà vu of my first encounter with the journal prompted me to reflect on the current state of music. Post-Cagean composers developed approaches to technology that were experimental, analytic and, above all, idiosyncratic. The existing tools of musicology were ill suited for analyzing music based on echolocation, CD error correction, Doppler shift or speech patterns. Criticism fell into the gap between journals serving academic composers and musicologists and magazines dedicated to more popular styles. As a result, we were left with a body of work—conveyed largely in oral tradition, unlabeled circuits and forgotten computers—whose details, and sometimes very existence, were unknown outside a small circle. The desire to chip away at this ignorance fueled my modest activities as a writer and editor. LMJ had given me my first opportunity to make a statement about my own work, so it seemed appropriate that I offer others a boost onto the same soapbox. Since 1997 I have organized each annual volume around a rubric that I hoped would be specific enough to provide focus but broad enough to attract a diversity o
{"title":"History and Memory","authors":"Nicolas Collins","doi":"10.1162/LMJ_E_00998","DOIUrl":"https://doi.org/10.1162/LMJ_E_00998","url":null,"abstract":"call from Larry Polansky inviting me to contribute to the premiere issue of Leonardo Music Journal (spun off from the venerable Leonardo journal of art and technology), of which he was the founding editor. Larry’s timing was auspicious: ordinary life was suspended in my Bleecker Street loft as I awaited our firstborn and engaged in rewinding and fast-forwarding the tape of my life. Fearing that the blessed event would render me incapable of composing for months to come, I accepted the offer on the assumption that writing words would be somehow easier than writing music. I was wrong on both counts: the expanded family slipped into a blissful trio state, but writing turned out to be a more serious challenge than anticipated [1]. My previous writing experience had been largely confined to grant applications, concert and liner notes and the odd lecture. Larry’s invitation provided an excuse to indulge in musical self-analysis on a larger, more detailed scale. So, as my son napped, I typed, slowly cobbling together an essay whose style perhaps owed more to the ghost-written sports autobiographies of my childhood than to academic journals but that nonetheless accounted reasonably well for the evolution of my recent musical activities [2]. I found the process cathartic. Over the next few years I became increasingly involved in writing and editing essays, lectures and a book, An Incomplete Handbook of the Phenomenology of Whistling [3]. Self-reflection gave way to broader analyses of the interaction of musical aesthetics with technological, social and economic developments. Writing became an integral part of my life. Seven years after Larry’s phone call, I found myself sitting in a sunny Berlin apartment with my new daughter in my lap, while fellow composer Jonathan Impett prodded me to apply for the now-open position of Editor-in-Chief of LMJ. A paternal déjà vu of my first encounter with the journal prompted me to reflect on the current state of music. Post-Cagean composers developed approaches to technology that were experimental, analytic and, above all, idiosyncratic. The existing tools of musicology were ill suited for analyzing music based on echolocation, CD error correction, Doppler shift or speech patterns. Criticism fell into the gap between journals serving academic composers and musicologists and magazines dedicated to more popular styles. As a result, we were left with a body of work—conveyed largely in oral tradition, unlabeled circuits and forgotten computers—whose details, and sometimes very existence, were unknown outside a small circle. The desire to chip away at this ignorance fueled my modest activities as a writer and editor. LMJ had given me my first opportunity to make a statement about my own work, so it seemed appropriate that I offer others a boost onto the same soapbox. Since 1997 I have organized each annual volume around a rubric that I hoped would be specific enough to provide focus but broad enough to attract a diversity o","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_E_00998","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47514178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sound art is at the vanguard of contemporary creative practices seeking to establish a platform for meaningful debate on a range of accelerating global environmental crises. This paper explores how the Softday art/science collaboration moved from exploring histories of the natural world in the epoch of the Anthropocene, while engaging in a continuum of public and politicized contestations addressing climate change issues, to a participatory sound art practice that that we call Acouscenic Listening and Creative Soundwalks, which may help to develop a novel frame of understanding of the world.
{"title":"Acouscenic Listening and Creative Soundwalks: Evoking Memory and Narratives through Soundscape Exploration","authors":"Seán Taylor, M. Fernström","doi":"10.1162/LMJ_a_00999","DOIUrl":"https://doi.org/10.1162/LMJ_a_00999","url":null,"abstract":"Sound art is at the vanguard of contemporary creative practices seeking to establish a platform for meaningful debate on a range of accelerating global environmental crises. This paper explores how the Softday art/science collaboration moved from exploring histories of the natural world in the epoch of the Anthropocene, while engaging in a continuum of public and politicized contestations addressing climate change issues, to a participatory sound art practice that that we call Acouscenic Listening and Creative Soundwalks, which may help to develop a novel frame of understanding of the world.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_00999","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46477236","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During 2017–2018, we invite you to participate in our 18-month-long celebration of Leonardo’s 50th anniversary. Half a century ago, kinetic artist and astronautical pioneer Frank Malina set out to solve the needs of the community of artists and scientists working across disciplines by using the “new media” of the time— offset print publishing. Leonardo journal represented a unique vision that served as an international channel of communication among artists, with emphasis on the writings of artists using science and developing technologies in their work. Today, documenting and capturing the creative innovators and provocateurs of culture is not enough. If media is the messenger, then Leonardo must expand its scope to represent the unique works and challenges we face in the 21st century. As a network of networks, Leonardo is reimagining the next 50 years. We invite you to come along with us on this journey of rediscovery and reinvention. See the list of upcoming 50th anniversary events at .
{"title":"The Network","authors":"Stacy Jerger","doi":"10.1162/lmj_e_01028","DOIUrl":"https://doi.org/10.1162/lmj_e_01028","url":null,"abstract":"During 2017–2018, we invite you to participate in our 18-month-long celebration of Leonardo’s 50th anniversary. Half a century ago, kinetic artist and astronautical pioneer Frank Malina set out to solve the needs of the community of artists and scientists working across disciplines by using the “new media” of the time— offset print publishing. Leonardo journal represented a unique vision that served as an international channel of communication among artists, with emphasis on the writings of artists using science and developing technologies in their work. Today, documenting and capturing the creative innovators and provocateurs of culture is not enough. If media is the messenger, then Leonardo must expand its scope to represent the unique works and challenges we face in the 21st century. As a network of networks, Leonardo is reimagining the next 50 years. We invite you to come along with us on this journey of rediscovery and reinvention. See the list of upcoming 50th anniversary events at <leonardo .info/50th-anniversary>.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_e_01028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41642896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tsvetana Ivanova, L. Litov, Rositza Marinova, T. Ivanov, Mihail Iossifov, Agnieshka Deynovitch
Abstract In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition. The authors performed a neurological test to verify the accuracy of the musical interpretation and investigated the parallel neurological impacts of the hormone’s biological and musical form. This article describes the preliminary results of the study.
{"title":"The Music of Human Hormones","authors":"Tsvetana Ivanova, L. Litov, Rositza Marinova, T. Ivanov, Mihail Iossifov, Agnieshka Deynovitch","doi":"10.1162/lmj_a_01033","DOIUrl":"https://doi.org/10.1162/lmj_a_01033","url":null,"abstract":"Abstract In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition. The authors performed a neurological test to verify the accuracy of the musical interpretation and investigated the parallel neurological impacts of the hormone’s biological and musical form. This article describes the preliminary results of the study.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41512424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article discusses Heavy Metal, an interactive installation work by Nigel Helyer. The authors situate this work within the context of a collaboration among environmental science, art and media theory, a three-year research project entitled When Science Meets Art: An Environmental Portrait of the Shoalhaven River Valley.
{"title":"Heavy Metal: An Interactive Environmental Art Installation","authors":"N. Helyer, J. Potts, M. Taylor","doi":"10.1162/lmj_a_01032","DOIUrl":"https://doi.org/10.1162/lmj_a_01032","url":null,"abstract":"Abstract This article discusses Heavy Metal, an interactive installation work by Nigel Helyer. The authors situate this work within the context of a collaboration among environmental science, art and media theory, a three-year research project entitled When Science Meets Art: An Environmental Portrait of the Shoalhaven River Valley.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_01032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46151150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The artist Elizabeth McTernan and the mathematician Luke Wolcott collaborated on A Tree Calls, in which Wolcott chopped down a tree in the United States and McTernan simultaneously led a group in Copenhagen to walk toward the arrival of the sound of the tree falling. How does the sound of this tree falling, and the story of its journey and reception, help us walk into a framed void, alone together? In its faint vibration, how can we hear both the idea’s persistent unity and the silent physical arrival of absence?
{"title":"Crossing the Muddy Field of Witness, Calling the Lonely Crowd: A Walk to Meet a Sound","authors":"Elizabeth McTernan, L. Wolcott","doi":"10.1162/lmj_a_00997","DOIUrl":"https://doi.org/10.1162/lmj_a_00997","url":null,"abstract":"Abstract The artist Elizabeth McTernan and the mathematician Luke Wolcott collaborated on A Tree Calls, in which Wolcott chopped down a tree in the United States and McTernan simultaneously led a group in Copenhagen to walk toward the arrival of the sound of the tree falling. How does the sound of this tree falling, and the story of its journey and reception, help us walk into a framed void, alone together? In its faint vibration, how can we hear both the idea’s persistent unity and the silent physical arrival of absence?","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/lmj_a_00997","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45035408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2015/16 interactive public art works were installed on the sidewalks in Brooklyn and Queens by Rebecca Hackemann using ordinary city permits. The locations were chosen in order to counteract the dominant locations for public art in New York, which tend to be in Manhattan and/or in tourist concentrated areas. The works are entitled The Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as its role in society. The device’s earpiece recorded over 100 open ended narratives and 391 responses to quantitative data questions via an integrated e-paper display screen. This public art project combines social practice with object based public art into a conceptual public art practice that forms a commons or civic art. Sound archives of the responses can be found at local libraries in Queens and Brooklyn and at http://utteraton.com/.
{"title":"Not For Tourists - The Publicness of Public Art - The Public Utteraton Machines Record What People Think of Other Public Art in New York City","authors":"Rebecca Hackemann","doi":"10.1162/LMJ_a_01031","DOIUrl":"https://doi.org/10.1162/LMJ_a_01031","url":null,"abstract":"In 2015/16 interactive public art works were installed on the sidewalks in Brooklyn and Queens by Rebecca Hackemann using ordinary city permits. The locations were chosen in order to counteract the dominant locations for public art in New York, which tend to be in Manhattan and/or in tourist concentrated areas. The works are entitled The Public Utteraton Machines and enable passersby to utter their opinions about other public art in the city as well as its role in society. The device’s earpiece recorded over 100 open ended narratives and 391 responses to quantitative data questions via an integrated e-paper display screen. This public art project combines social practice with object based public art into a conceptual public art practice that forms a commons or civic art. Sound archives of the responses can be found at local libraries in Queens and Brooklyn and at http://utteraton.com/.","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_a_01031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64407540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Leonardo Volume 50 and Leonardo Music Journal Volume 27","authors":"","doi":"10.1162/LMJ_x_01027","DOIUrl":"https://doi.org/10.1162/LMJ_x_01027","url":null,"abstract":"","PeriodicalId":42662,"journal":{"name":"LEONARDO MUSIC JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1162/LMJ_x_01027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64408121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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