Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts - Softcover

Kahn, Douglas

 
9780520257559: Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts

Inhaltsangabe

Earth Sound Earth Signal is a study of energies in aesthetics and the arts, from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Douglas Kahn begins by evoking the Aeolian sphere music that Henry David Thoreau heard blowing along telegraph lines and the Aelectrosonic sounds of natural radio that Thomas Watson heard through the first telephone; he then traces the histories of science, media, music, and the arts to the 1960s and beyond. Earth Sound Earth Signal rethinks energy at a global scale, from brainwaves to outer space, through detailed discussions of musicians, artists and scientists such as Alvin Lucier, Edmond Dewan, Pauline Oliveros, John Cage, James Turrell, Robert Barry, Joyce Hinterding, and many others.

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Über die Autorin bzw. den Autor

Douglas Kahn is Professor of Media and Innovation at the National Institute for Experimental Arts at the University of New South Wales, Australia. He is author or editor of several books, including Noise Water Meat: A History of Sound in the Arts (1999) and, most recently, Source: Music of the Avant-Garde (2011) and Mainframe Experimentalism (2012).

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"Earth Sound Earth Signal is a mind-expanding, ear-opening book, at once a history of electromagnetism in the arts and a provocation to rethink the relationship between media and nature. With erudition and wit, Kahn tells the stories of artists, scientists, and engineers who have made audible the way our planet buzzes, crackles, hums, and whistles, from the ionosphere to the deepest depths of the oceans. The result is a strikingly original work about sound, aesthetics, politics, and the environment, from Henry David Thoreau to the Cold War to the age of global warming. It will haunt you—in a good way—long after you read it." —David Suisman, author of Selling Sounds: The Commercial Revolution in American Music

"Douglas Kahn's Earth Sound Earth Signal delivers a dazzlingly innovative study of how avant-garde music and art have made the planet itself audible over the last 200 years: the soil, the air, the atmosphere, electromagnetic radiation, and wireless communications become objects of playful scientific inquiry and aesthetic enjoyment in works from Henry David Thoreau to Alvin Lucier, John Cage, Pauline Oliveros, Robert Barry, and Joyce Hinterding. Earth Sound Earth Signal unfolds new histories of communication, of technology, of science, and of experimental aesthetics in a unique fusion of sharp-eyed scholarship with manifesto-style punch lines. At stake is not just aesthetics or history, but a new idea of planetary nature: Earth perceived through global and local waves, radiations, and energy flows that humans cannnot see but that become audible through media from rocks and winds to electronic circuitry. At a time when older notions of nature no longer grasp the new global technonatures and biocultures of the twenty-first century, Kahn's brilliantly insightful manifesto of 'Aelectrosonics' makes nature resonate anew in an entirely different key and at a different scale: It shows how Earth sings and the atmosphere makes music. This planetary techno-music is a must-hear for anyone interested in experimental aesthetics, environmentalism, or globalization." —Ursula K. Heise, author of Sense of Place and Sense of Planet: The Environmental Imagination of the Global

"It is rare that the history of the arts and techno-sciences are so successfully blended as in Douglas Kahn's magisterial survey of how the perception of natural electromagnetic phenomena entered the scientific, artistic and popular imagination. Kahn documents the inquiries of Thomas Watson, Thoreau, scientists and amateurs in the 19th and 20th centuries and moves on to Alvin Lucier, John Cage and contemporary composers and scientific inquiry. This is a fundamental text for all collaborations between the arts and sciences today." —Roger Malina, Professor of Art and Technology and Professor Of Physics, University of Texas at Dallas

"A fascinating tour through previously untold episodes in media arts history. From its theoretical moves to 'think energy' and attend to its lively presence in communications and the arts, to its fresh historical detail on experimental works by artists such as Alvin Lucier and Pauline Oliveros, Earth Sound Earth Signal should appeal broadly to scholars, artists, and enthusiasts of media and sound." —Tara Rodgers, composer and author of Pink Noises: Women on Electronic Music and Sound

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"Earth Sound Earth Signal is a mind-expanding, ear-opening book, at once a history of electromagnetism in the arts and a provocation to rethink the relationship between media and nature. With erudition and wit, Kahn tells the stories of artists, scientists, and engineers who have made audible the way our planet buzzes, crackles, hums, and whistles, from the ionosphere to the deepest depths of the oceans. The result is a strikingly original work about sound, aesthetics, politics, and the environment, from Henry David Thoreau to the Cold War to the age of global warming. It will haunt you&;in a good way&;long after you read it." &;David Suisman, author of Selling Sounds: The Commercial Revolution in American Music

"Douglas Kahn's Earth Sound Earth Signal delivers a dazzlingly innovative study of how avant-garde music and art have made the planet itself audible over the last 200 years: the soil, the air, the atmosphere, electromagnetic radiation, and wireless communications become objects of playful scientific inquiry and aesthetic enjoyment in works from Henry David Thoreau to Alvin Lucier, John Cage, Pauline Oliveros, Robert Barry, and Joyce Hinterding. Earth Sound Earth Signal unfolds new histories of communication, of technology, of science, and of experimental aesthetics in a unique fusion of sharp-eyed scholarship with manifesto-style punch lines. At stake is not just aesthetics or history, but a new idea of planetary nature: Earth perceived through global and local waves, radiations, and energy flows that humans cannnot see but that become audible through media from rocks and winds to electronic circuitry. At a time when older notions of nature no longer grasp the new global technonatures and biocultures of the twenty-first century, Kahn's brilliantly insightful manifesto of 'Aelectrosonics' makes nature resonate anew in an entirely different key and at a different scale: It shows how Earth sings and the atmosphere makes music. This planetary techno-music is a must-hear for anyone interested in experimental aesthetics, environmentalism, or globalization." &;Ursula K. Heise, author of Sense of Place and Sense of Planet: The Environmental Imagination of the Global

"It is rare that the history of the arts and techno-sciences are so successfully blended as in Douglas Kahn's magisterial survey of how the perception of natural electromagnetic phenomena entered the scientific, artistic and popular imagination. Kahn documents the inquiries of Thomas Watson, Thoreau, scientists and amateurs in the 19th and 20th centuries and moves on to Alvin Lucier, John Cage and contemporary composers and scientific inquiry. This is a fundamental text for all collaborations between the arts and sciences today." &;Roger Malina, Professor of Art and Technology and Professor Of Physics, University of Texas at Dallas

"A fascinating tour through previously untold episodes in media arts history. From its theoretical moves to 'think energy' and attend to its lively presence in communications and the arts, to its fresh historical detail on experimental works by artists such as Alvin Lucier and Pauline Oliveros, Earth Sound Earth Signal should appeal broadly to scholars, artists, and enthusiasts of media and sound." &;Tara Rodgers, composer and author of Pink Noises: Women on Electronic Music and Sound

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Earth Sound Earth Signal

Energies and Earth Magnitude in the Arts

By Douglas Kahn

UNIVERSITY OF CALIFORNIA PRESS

Copyright © 2013 The Regents of the University of California
All rights reserved.
ISBN: 978-0-520-25755-9

Contents

List of Illustrations, vii,
Acknowledgments, ix,
Introduction, 1,
1. Thomas Watson: Natural Radio, Natural Theology, 25,
2. Microphonic Imagination, 34,
3. The Aeolian and Henry David Thoreau's Sphere Music, 41,
4. The Aelectrosonic and Energetic Environments, 53,
5. Inductive Radio and Whistling Currents, 69,
6. Alvin Lucier: Brainwaves, 83,
7. Edmond Dewan and Cybernetic Hi-Fi, 93,
8. Alvin Lucier: Whistlers, 106,
9. From Brainwaves to Outer Space: John Cage and Karl Jansky, 115,
10. For More New Signals, 122,
11. Sound of the Underground: Earthquakes, Nuclear Weaponry, and Music, 133,
12. Long Sounds and Transperception, 162,
13. Pauline Oliveros: Sonosphere, 174,
14. Thomas Ashcraft: Electroreceptor, 187,
15. Black Sun, Black Rain, 193,
16. Star-Studded Cinema, 205,
17. Robert Barry: Conceptualism and Energy, 218,
18. Collaborating Objects Radiating Environments, 227,
19. Joyce Hinterding: Drawing Energy, 237,
20. Earth-in-Circuit, 255,
Notes, 259,
Index, 317,


CHAPTER 1

Thomas Watson

Natural Radio, Natural Theology


The legend of radio begins in the 1890s with Guglielmo Marconi leading the procession of successful great men and Nikola Tesla among the great men unfairly treated. Although some would win in the courts of law and aficionado opinion, Marconi held sway in the popular imagination. Marconi's early device was actually wireless telegraphy, not "radio" as it came to be known with commercial broadcast in the 1920s. It did not transmit voice, music, and other sounds, only the make-and-break dots-and-dashes of telegraphic code. Purpose-built inventions that carried voice and music appeared around 1906 to 1910 and were linked to the names of Reginald Fessenden, Lee De Forest, and Marconi himself, among others, although, as we shall see, non-purpose-built devices had wirelessly carried voice and music through "inductive radio" three decades earlier.

Understanding the physical basis of electromagnetic waves is attributed to James Clerk Maxwell, who, continuing the work of Michael Faraday, theorized electromagnetic waves in 1864, and to Heinrich Hertz, who, two decades later, empirically demonstrated their existence. Still, as Charles Süsskind has stated, "Observations of electromagnetic-wave propagation from man-made electrical disturbances have been made probably for as long as there have been means for producing moderately large sparks." One such observation occurred in 1780 when "Luigi Galvani observed that sparking from an electro static generator could cause convulsions in a dead frog at some distance from the machine."

What kept radio from being heard on the tail end of sparks, apart from the wet slap of a dead frog? Historical incidents of transmissions or possible transmissions are studied in the niche topic of "pre-Marconi wireless." They fall into two general classes: the first contains examples of induction, the disturbances of electromagnetic fields known to Hans Christian Ørsted and Michael Faraday; and the second contains likely examples of transmitted electromagnetic waves associated with Maxwell and Hertz. The principles of induction were understood in the last quarter of the nineteenth century, so when people were confronted with inexplicable incidents of transmission prior to Marconi, such incidents were simply dismissed as being nothing more than forms of induction.

When the telephone came along in 1876, its lines interacted with the electromagnetic fields of telegraph and telephone lines and "earth currents" and received naturally occurring electromagnetic waves. That is, the telephone acted as a wireless device in both senses of induction and the reception of transmission. Those listening certainly knew what Morse code, music, and voices sounded like, so when they heard them when no one was sending them from the other end of the telephone, they knew they had unexpected company from other lines. In this way, Morse code was heard without wires when Marconi was a toddler, and voices and music were heard when Fessenden was ten years old. However, unlike Morse code, when people listening on the telephone heard natural radio they could not know what it was, so its sounds were a matter of mystery and speculation.

In 1876, when Alexander Graham Bell demonstrated his "articulating" telephone, there were already a number of telephones in existence. They worked on the "make-and-break" currents of the telegraph, an appropriate term given the commercial viability of communications systems, and some telephones were designed to transmit fixed musical pitches. Bell's device, on the other hand, used "undulatory" currents conducive to the dynamics of the voice, as well as to a greater range of musical sounds. However, if a telephone was attached to a telegraph or telephone line, sounds were heard before anyone started speaking or performing. Some were associated with the device itself, that is, with the complete grounded circuit of two or more telephones connected by a line. Some were sounds produced by currents that had long been known to exist more crudely on the telegraph. Other sounds were the result of interactions of inductive fields from nearby lines, and still others resulted from the fact that the line seconded as an antenna. Bell spoke about these sounds during the first few years of the telephone:

When a telephone is placed in circuit with a telegraph line, the telephone is found seemingly to emit sounds on its own account. The most extraordinary noises are often produced, the causes of which are at present very obscure. One class of sounds is produced by the inductive influence of neighboring wires and by leakage from them, the signals of the Morse alphabet passing over neighboring wires being audible in the telephone; and another class can be traced to earth currents upon the wire, a curious modification of this sound revealing the presence of defective joints in the wire.


The role of the telephone in the history of wireless technology has not gone unnoticed, but the last full treatment was in 1899. John Joseph Fahie's book A History of Wireless Telegraphy: 1838–1899 was written a few years after Marconi's invention, yet it required over three hundred pages to detail the many claims, attempts, and realizations at sending messages over distances without wires or, as it was known then, space telegraphy. Fahie divided the history into periods in the evolution of the technology, the first being characterized by good ideas and unsubstantiated claims, followed by the second, practicable period, which occurred once the telephone was attached to telephone and telegraph lines. Fahie, however, overlooked Thomas Watson, the person who first attached a telephone to a telephone line.

Alexander Graham Bell and Watson, his assistant and chief machinist, were the first to "talk by telegraph" because of their unique access to the device. Once Watson's workday came to a close and no one was on the other end of the line, he listened to sounds other than voices. Environmental energies had long been ever-present in the telegraph system, but the transductive capability of the telephone made them audible as never before. The sensitivity of the device that made it possible to hear...

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9780520257801: Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts

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ISBN 10:  0520257804 ISBN 13:  9780520257801
Verlag: University of California Press, 2013
Hardcover