Caleb Kelly – författare

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery café fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly ‘visual’ art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery café fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly ‘visual’ art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery café fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly 'visual' art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

Sound is an integral part of contemporary art. Once understood to be a marginal practice, increasingly we encounter sound in art exhibitions through an array of sound making works in various art forms, at times played to very high audio levels. However, works of art are far from the only thing one might hear: music performances, floor talks, exhibition openings and the noisy background sounds that emanate from the gallery café fill contemporary exhibition environments. Far from being hallowed spaces of quiet reflection, what this means is that galleries have swiftly become very noisy places. As such, a straightforward consideration of artworks alone can then no longer account for our experiences of art galleries and museums. To date there has been minimal scholarship directed towards the intricacies of our experiences of sound that occur within the bounds of this purportedly 'visual' art space. Kelly addresses this gap in knowledge through the examination of historical and contemporary sound in gallery environments, broadening our understanding of artists who work with sound, the institutions that exhibit these works, and the audiences that visit them. Gallery Sound argues for the importance of all of the sounds to be heard within the walls of art spaces, and in doing so listens not only to the deliberate inclusion of sound within the art gallery in the form of artworks, performances, and music, but also to its incidental sounds, such as their ambient sounds and the noise generated by audiences. More than this, however, Gallery Sound turns its attention to the ways in which the acoustic characteristics specific to gallery spaces have been mined by artists for creative outputs, ushering in entirely new art forms.

This open access book synthesizes the swiftly growing critical scholarship on mistakes, glitches, and other aesthetics and logics of imperfection into the first transdisciplinary, transnational framework of imperfection studies.In recent years, the trend to present the notion of imperfection as a plus rather than a problem has resonated across a range of social and creative disciplines and a wealth of world localities. As digital tools allow media users to share ever more suave selfies and success stories, psychologists promote 'the gifts of imperfections' and point to perfectionism as a catalyst for rising depression and burnout complaints and suicide rates among millennials. As sound technologies increasingly permit musicians to 'smoothen' their work, composers increasingly praise glitches, noise, and cracks. As genetic engineering upgrades with swift speed, philosophers, marketeers, and physicians plea 'against perfection' and supermarkets successfully advertise 'perfectly imperfect' vegetables. Meanwhile, cultural analysts point at skewed perspectives, blurry images, and other 'deliberate imperfections' in new and historical cinema, painting, photography, music, and literature. While these and other experts applaud imperfection, scholars in fields ranging from disability studies to tourism critically interrogate a trend to fetishize imperfection and poverty. They rightfully warn against projecting privileged (and, often, emphatically western-biased) feel-good stories onto the less privileged, the distorted, and the frail.The editors unite the different strands in imperfection thinking across various disciplines tools. In fourteen chapters by experts from different world localities, they offer scholars and students more historically grounded and more critically informed conceptualizations of the imperfect.The ebook editions of this book are available on www.bloomsburycollections.com. Open access was funded by the Netherlands Scientific Organization.

This open access book synthesizes the swiftly growing critical scholarship on mistakes, glitches, and other aesthetics and logics of imperfection into the first transdisciplinary, transnational framework of imperfection studies.In recent years, the trend to present the notion of imperfection as a plus rather than a problem has resonated across a range of social and creative disciplines and a wealth of world localities. As digital tools allow media users to share ever more suave selfies and success stories, psychologists promote 'the gifts of imperfections' and point to perfectionism as a catalyst for rising depression and burnout complaints and suicide rates among millennials. As sound technologies increasingly permit musicians to 'smoothen' their work, composers increasingly praise glitches, noise, and cracks. As genetic engineering upgrades with swift speed, philosophers, marketeers, and physicians plea 'against perfection' and supermarkets successfully advertise 'perfectly imperfect' vegetables. Meanwhile, cultural analysts point at skewed perspectives, blurry images, and other 'deliberate imperfections' in new and historical cinema, painting, photography, music, and literature. While these and other experts applaud imperfection, scholars in fields ranging from disability studies to tourism critically interrogate a trend to fetishize imperfection and poverty. They rightfully warn against projecting privileged (and, often, emphatically western-biased) feel-good stories onto the less privileged, the distorted, and the frail.The editors unite the different strands in imperfection thinking across various disciplines tools. In fourteen chapters by experts from different world localities, they offer scholars and students more historically grounded and more critically informed conceptualizations of the imperfect.The ebook editions of this book are available on www.bloomsburycollections.com. Open access was funded by the Netherlands Scientific Organization.

Moving beyond John Cage's influential focus on "sound-as-sound," this study explores how installation and media artists reveal the material realities hidden within sonic experience. Sound emerges from material contestation-there can be no sound without the shifting of matter. Yet in our fractured relationship with materials, we have often forgotten these physical origins. Caleb Kelly argues that by listening to the edges of the sonic, where sound is not always aesthetic, we can think differently about both media and matter.Spanning two pivotal periods in art history, Material Sound traces the shift from the dematerialisation of art objects in the mid-20th century to contemporary practices that make tangible our material realities. The book examines artists who are well known for their sound-based practices, including Len Lye, Max Neuhaus and Laurie Anderson, alongside others not typically associated with sound, such as Robert Rauschenberg, Vito Acconci and Nancy Holt. The book also focuses on contemporary artists from the Asia-Pacific region, expanding the critical context for sound studies beyond Western perspectives.Drawing on extensive archival research and critical attention to artworks from both internationally renowned and under-recognized artists, Material Sound offers transformative insights into how mediated art experiences can deepen our understanding of ecological realities by listening to materials.