logo

Social Experimental Audio

Virtually unbeknownst to the general milieu of contemporary art practices, as well as to most conventional musical realms, an ongoing worldwide-scale revolutionary shift has taken place over the past few decades in the multiform universe of creative work with sound.

PublishedJanuary 24, 2024
Share
Social Experimental Audio

© Francisco Lopez

AUDIOSPHERE: Social Experimental Audio, 2020 - Reina Sofía National Museum and Art Center (Madrid, Spain)

No article content yet.

  • Bailey, Thomas B. W. Micro Bionic: Radical Electronic Music and Sound Art in the 21st Century. Creation Books, 2009.

  • Bailey, Thomas B. W. Unofficial Release: Self-Released And Handmade Audio In Post-Industrial Society. Belsona Books Ltd., 2012.

  • Baudrillard, Jean. Why hasn’t everything already disappeared? Seagull Books, 2009.

  • Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction”. In: Illuminations: Essays and Reflections, Walter Benjamin. Schoken, 1969 (original 1935).

  • Borschke, Margie. This is Not a Remix: Piracy, Authenticity and Popular Music. Bloomsbury Publishing, 2017.

  • Broncano, Fernando. La melancolía del ciborg. Herder Editorial, 2009.

  • Casati, Roberto & Dokic, Jérôme. La Philosophie du Son. Format Books, 1994.

  • Chion, Michel. L’Art des Sons Fixés. Metamkine, 1991.

  • Chion, Michel. Le son. Editions Nathan, 1998.

  • Cox, Christoph & Warner, Daniel Eds. Audio Culture: Readings in Modern Music. 2nd Revised Edition. Bloomsbury Publishing, 2017.

  • Demers, Joanna. Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press, 2010.

  • Gendreau, Michael. Parataxes. Fragments pour une architecture des espaces sonores. Collection rip on/off, Van Dieren Éditeur, 2014.

  • Hainge, Greg. Noise Matters. Towards an Ontology of Noise. Bloomsbury Publishing, 2013.

  • Hegarty, Paul. Noise / Music. A History. Bloomsbury Publishing, 2007.

  • Heidegger, Martin. Being and Time. Harper Perennial Modern Classics, 2008 (original 1927).

  • James, Robin Ed. Cassette Mythos. Autonomedia, 1992.

  • Kane, Brian. Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford University Press, 2014.

  • Kivy, Peter. Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press, 1991.

  • Lash, Scott. Critique of Information. SAGE Publications, 2002.

  • Lippard, Lucy R. Six Years: The Dematerialization of the Art Object. University of California Press, 1997.

  • López, Francisco. “Music Dematerialized?” In Cochlear Poetics: Writings on Music and Sound Arts, edited by Miguel Carvalhais & Pedro Tudela, 95-100. Mono Magazine, Universidade do Porto, Portugal, 2014.

  • Nechvatal, Joseph. Immersion Into Noise. Open Humanity Press, 2011.

  • Rancière, Jacques. The Politics of Aesthetics. Continuum Press, 2004.

  • Szreder, Kuba. “How to Radicalize a Mouse? Notes on Radical Opportunism”. In Mobile Autonomy. Exercises in Artists’ Self-Organization, edited by Nico Dockx & Pascal Gielen, 195-217. Royal Academy of Fine Arts Antwerp & Valiz, Amsterdam, 2015.

  • Vale, Valhalla & Juno, Andrea. Industrial Culture Handbook. Re/Search Publications, 1983.

  • Voegelin, Salomé. Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum Press, 2010.

Francisco Lopez

Francisco Lopez

About the author

Francisco López

Francisco López is internationally recognized as one of the main figures in the realm of experimental music and audio art. His experience in the field of sound creation and work with environmental recordings covers a period of more than forty years, during which he has developed an impressive sound universe that is completely personal and iconoclastic and based on a profound listening to the world. He has realized hundreds of sound installations, projects with field recordings, and concerts/performances in over eighty countries, including the main international concert halls, museums, galleries and festivals, such as: National Music Auditorium (Madrid), PS1 Contemporary Art Center (New York), Museum of Modern Art (Paris), International Film Festival (Rotterdam), Festival des Arts (Brussels), EMPAC (Troy, USA), Darwin Fringe (Darwin, Australia), Institute of Contemporary Art (London), Museum of Modern Art of Buenos Aires, Museum of Contemporary Art of Barcelona, Center of Contemporary Art (Kita-Kyushu, Japan), National Museum Reina Sofía (Madrid), Spanish Pavilion at the Expo Dubai (United Arab Emirates), etc. His extensive catalogue of sound pieces –with live and studio collaborations, as well as projects curated and directed, with more than a thousand artists– has been released by over 450 recording labels / publishers all over the world. Among other prizes, López has been awarded five times with honorary mentions at the prestigious Ars Electronica Festival (Austria) and is the recipient of a Qwartz Award (France) for best sound anthology.

Loading author details...
Loading similar articles...