Dack, John


Sound, Installations and Music

In MAXIS II: Proceedings of the 2nd International Festival and Symposium of Sound and Experimental Music, 2003. Sheffield: University of Sheffield Hallam Press.

Language(s): English


Electroacoustic Music Sound Installation


In this paper, noting that many practitioners of electroacoustic music today have no difficulty in exploring other art forms, the author seeks to demonstrate that music and installation art have more to offer each other than shared technology. In particular, he discusses techniques that appear in installation art but which have possible origins in - and connections with - music. For example, the use of space as a principal formal determinant in installation art has obvious precedents in electroacoustic composition as does the use of real-world sounds for their symbolic and cultural meanings.

All references of the same author:


Dack, John (1993). A la Recherche de l'Instrument Perdu
Dack, John (1994). Pierre Schaeffer and the Significance of Radiophonic Art
Dack, John (1997). Pedagogy and the Studio
Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen's Kontakte für elektronische Klänge, Klavier, und Schlagzeug
Dack, John (1998b). Systematising the Unsystematic
Dack, John (1999a). Karlheinz Stockhausen's Kontakte and Narrativity
Dack, John (1999b). The Creative Power of the Machine
Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry
Dack, John (2001). Diffusion as Performance
Dack, John (2002a). Histories and Ideologies of Synthesis
Dack, John (2002b). Abstract and Concrete
Dack, John (2003a). Can the Analogue Past Inform the Digital Present?
Dack, John (2003c). Ear-training using the computer and PROGREMU
Dack, John (2004). 'Open' Forms and the Computer