Instalación Sonora

Géneros y Categorías [GyC]


Dentro del ámbito del arte desarrollado en espacios públicos, la instalación sonora puede considerarse como el equivalente musical de una escultura, una experiencia auditiva diseñada para un lugar generalmente utilizado para exhibir obras de arte fundamentalmente visuales o piezas creadas para sitios específicos. Muchas instalaciones sonoras utilizan una diversidad de técnicas y tecnologías electroacústicas para su creación y la presentación espacial. En contraste con las obras de arte lineales y autónomas, las instalaciones sonoras son habitualmente apreciadas comenzando y terminando en un punto cualquiera de la misma.


See also

Arte Sonoro (Sound Art)



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Alphabetical order - Chronological order

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Bain, Mark (2003). The {Live Room}: Transducing resonant architectures
Bandt, Ros (2003). Taming the Wind: Aeolian sound practices in Australia
Bandt, Ros (2004). The Listening Place: Alma Park’s Cross Cultural Voices
Bandt, Ros (2005). Designing Sound in Public Space in Australia: a comparative study based on the Australian Sound Design Project’s online gallery and database
Bandt, Ros (2006). Sound Installation: Blurring the Boundaries of the Eye, the Ear, Space and Time
Barrett, Natasha (2005). {Adsonore}
Barrett, Natasha, Hammer, Oyvind (1998). Mimetic Dynamics
Barrière, Françoise (2003). Où en est la musique électroacoustique aujourd’hui ?
Bertolina, Lucien (1991). Comme un trou de mémoire...
Birchfield, David, Lorig, David, Phillips, Kelly (2005). Network Dynamics in {Sustainable}: a robotic sound installation
Birchfield, David, Phillips, Kelly, Kidané, Assegid, Lorig, David (2006). Interactive Public Sound Art: A Case Study
Bonin, Vincent, Heimbecker, Steve (2006). Interview with Steve Heimbecker
Bosch, Peter, Simons, Simone (2005). Our music machines
Carter, Paul (1996). Speaking Pantomimes: Notes on {The Calling to Come}
Caux, Jacqueline, Delalande, François, Gayou, Evelyne, Teruggi, Daniel (2002). {Presque rien} avec Luc Ferrari
Chion, Michel (1977). Sous l’œil des membranes
Curran, Alvin (1994). {Music from the Centre of the Earth}: Three Large-Scale Sound Installations
Dack, John (2003b). Sound, Installations and Music
Dahlstedt, Palle (2001). A MutaSynth in Parameter Space: Interactive composition through evolution
Davis, Randal (2003). ‘... and what they do as they’re going ...’: Sounding space in the work of Alvin Lucier
Dimitri, Coppe (1996). Futura 96
Driscoll, John, Rogalsky, Matt (2004). David Tudor’s {Rainforest}: An Evolving Exploration of Resonance
Fells, Nick (2002). On Space, Listening and Interaction: {Words on the Streets are These} and {Still Life}
Fort, Bernard (1990). De l’acousmatique à la plastique sonore
Frisk, Henrik, Yoshida, Miya (2005). New Communications Technology in the Context of Interactive Sound Art: an empirical analysis
Giomi, Francesco, Meacci, Damiani, Schwoon, Kilian (2003). Electroacoustic Music in a Multi-Perspective Architectural Context: A sound installation for Renzo Piano’s Auditorium of Rome
Gluck, Robert J. (2005b). {Sounds of a Community}: Cultural Identity and Interactive Art
Godman, Rob (2002). Ambient Sound and Resonating Spaces
Godman, Rob (2004a). Recreating the Real, Realizing the Imaginary - A Composers Preoccupation with Acoustic Space
Godman, Rob (2004b). The Enigma of Vitruvian Resonating Vases and the Relevancs of the Concept for Today
Habault, Daniel (1991). Sysdiff, système de diffusion du Ges-Vierzon
Hahn, David (2002). Creating the Soundscape for {Zagreb Everywhere}
Holmes, Thom (2002). Electronic and Experimental Music
Iges, José (2000). Soundscapes: A Historical Approach
Keller, Damián, Capasso, Ariadna (2000). Social and Perceptual Processes in the Installation {The Trade}
Keller, Damián, Capasso, Ariadna (2006). New concepts and techniques in eco-composition
Klein, Georg (2003). From the Sound Installation to the Sound Situation: On my work transition - {berlin - junction eine klangsituation}
Kubisch, Christina (2002). Digital Arts’ Black Sheep
Kupper, Léo (1991). The Well-tempered Space Sound Instrument a New Musical Instrument
LA MOTTE-HABER, Helga de (1992). In den Extremen der Dynamik. Maryanne Amachers Wahrnehmungslandschaften (In the Extremes of Dynamics: Maryanne Amacher’s Perception Landscapes)
La Motte-Haber, Helga de (1999b). Klangkunst: Die gedanklichen und geschichtlichen Voraussetzungen: (Sound Art: its concepts and history)
Lane, Cathy, Parry, Nye (2005). The {Memory Machine}: sound and memory at the British Museum
Lejeune, Jean-Michel (2004). Robin Minard 4
Liverani, Massimo (2004). Interpreting a Garden: A Sound environment in the park of Villa Caruso Lastra a Signa, Florence, Italy
Lowenstein, Oliver (2000). Return to the Body: Techno-Motion Musician Rolf Gehlharr’s Sound=Space
Lucier, Alvin (1998). Origins of a Form: Acoustical Exploration, Science and Incessancy
Mestral, Charles de (1991). La composition de l’espace public sonore
Minard, Robin (1991). La musique environnementale
Monahan, Gordon (1995). Kinetic Sound Environments as a Mutation of the Audio System
Mulder, Robert, Allick, Kristi (2002). {Fragrances of Time and Space}: An Omniscape Installation
Nicolai, Carsten (2001). Milch, 2000
Osborn, Ed (1991). Local Conditions and Perceptual Concerns
Otondo, Felipe (2006). Shaping sounds in York Minster
Otondo, Felipe, Soto, Jorge (2004). Three diagonal strategies for a sound installation
Ouzounian, Gascia (2006). Embodied sound: Aural architectures and the body
Packer, Randall (2005). Composing with Media: Zero in Time and Space
Paine, Garth (2002). Interactivity, Where to from here?
Paine, Garth (2003). {Reeds}: A responsive environmental installation
Pellarin, Lars, Böttcher, Niels, Olsen, Jakob Mejner, Gregersen, Ole, Sarafin, Stefania, Guglielmi, Michel (2005). Connecting Strangers at a Train Station
Polli, Andrea (2004). Modelling Storms in Sound: The Atmospherics/Weather Works Project