SONICS – serie
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STEIM Touch
The Emergence of Musical Sensor Instruments
Inbunden, Engelska, 2026
447 kr
Skickas inom 7-10 vardagar
The STEIM foundation in Amsterdam was a music studio radically dedicated to the live, physical performance of electronic sound. From 1969 to 2021, the Studio for Electro-Instrumental Music supported artists in building new instruments, insisting on tangible, hands-on engagements with electronic sound.This book provides a comprehensive overview of STEIM's work, drawing on original interviews and extensive primary source research in the archive of its longtime artistic director, Michel Waisvisz (1949-2008). It traces the studio's evolution from its roots in the anarchic, situationist spirit of 1960s Amsterdam to the famous Cracklebox and to a long line of pioneering developments in sensor-based instruments between 1984 and 2000.A primary focus is Waisvisz's landmark instrument The Hands (1984)-the world's first sensor-based gestural controller-and the SensorLab platform it inspired. This emerging expertise fueled an international artist-in-residence programme, attracting figures like Jon Rose, Nicolas Collins, or Laetitia Sonami among many others and fostering a global wave of experimental instrument design.The common thread through this history is a paradigm called Touch, which championed musicians' embodied presence over automation and predefined control. By documenting the pursuits of immediacy within highly mediated technologies, The STEIM Touch offers a crucial historical lens for today's ongoing negotiations between artificiality and physicality in music creation.
Häftad, Engelska, 2026
313 kr
Kommande
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.