What is a sound artist?

Sound art, the Chinese translation of the English word "sound art", appeared in the late 20th century, and was used to refer to a broad sense of sound (including noise and music in the traditional sense) as the main creative medium, advocating respect for sound ontology and valuing active listening rather than "creation". Sound art has many intersections with "avant-garde**", "experimental**", "electronic**", and "computer**". Sound art in the broad sense can refer to all art forms that appeal to the ear, while sound art in the narrow sense can be used to refer to a conceptual auditory art form that emphasizes the use of extremely loud noise art that values a sense of energy.

The creative tools commonly used by sound art creators are: recording equipment (microphone, MD recorder, DAT digital recorder, hard disk flash recorder, etc.), computer (using audio software to edit and process sound), hardware effects sampler, vinyl turntable, traditional musical instruments, other sound-producing objects, etc. <>

Showing the same dense woods and bushes to both groups, we gave one group of viewers the breathless sound of running water, birds, and the rustle of leaves and the slight sound of the wind, while the other group did not. Obviously, the audience with the sound instinctively begins to be filled with the desire to explore the image, because they "see" objects that are not in the picture, they want to find it, they want to explore, maybe a bird will emerge from the picture, or the brook hidden behind the coffin will splash a little wave. On the contrary, the group without the sound quickly lost interest in the woods and bushes, because they already knew that it was just a painting, and even when they were told about the stream and the birds afterwards, they had no imagination about it, saying that it was nothing more than a picture of a group of bushes and trees, and I didn't see anything interesting.

This example is given to illustrate that sound has the power to change people's perceptual state like a picture. <>

There are standards, and there are standards for different types of sounds. But from an aesthetic point of view, there can be relatively common ground. It can be "situational" or not.

It can have an explanation or not. It is understandable in different cultures, and it is also not. In fact, this is exactly the problem that sound art (which has many personal opinions) is currently facing:

Is it, like Francisco Lopez, that doesn't have to look for meaning outside of the sound itself, but feels it purely inside the sound (that is, in the sense of hearing)? Or do you use the voice of rights protection and the recording of the two sessions to have more to do with reality? The latter is closer to the confines of the contemporary art field, while the former is more conservative and more pure in its adherence to orthodox ideals.

While both approaches make sense, they lead to two completely different outcomes. This is included in the previous question. If you're from Francesco Lopez's faction, you don't want to do that.

If you're willing to break down these rules, you can do anything. But if you insist on purity, then you can say that the behavior cannot be counted in it. <>

"Sound"The lack of rules does not mean that there are no rules in the ** itself. It is very different from the definition and creation method of traditional **, so the standard is also different. But it is not excluded that there are some things that are not in order, and in the name of art, they are confused.

In fact, many people think that Schoenberg's works, which are strictly counted in the field of **, are undisciplined, but in fact, it is a very rigorous composition, almost close to mathematics.

Some have a spectrum, some don't. In fact, what the landlord is asking should not be about the "spectrum", but a way of recording. Because its creation is different from the previous **, the term "spectrum" is not appropriate here.

If it is created by computer**, most of it is a program, and this program is "spectrum"; If it's something purely improvised, it's probably completely out of the spectrum. Some can be played repeatedly, some cannot. This also has something to do with the "spectrum".

The question is quite professional and hard. It takes a lot of effort to be perfect, sound art is actually a very, very broad sense, Oxford University has been exploring psychology and ** in the past ten years, and Harvard University has been studying sound devices and space in the past ten years. Only the French GRM is to continue the philosophical meaning of us.

I have received the most traditional GRM-style education, and I have been thinking about how to do this for a long time, and after three or four thousand words, I have deleted them all. It's better to put it"Me"I think that the sound artist should be a being, and the questions that I am most familiar with and understand most thoroughly. I'm often asked what kind of art can you do?

I can't answer. If this kind of art can't be used, why should you take the time to make it? I can't answer.

Have you ever wondered how you can make art that is useful and can be sold for money? I still can't answer. In fact, it's not that you can't answer, but it's difficult to explain the reason for this in three words.

Because when you ask me what situation I've come into, I need to do a sound design and I don't know how to start, I just can just make any suggestions and make a sound that helps that need, because my body of knowledge is not for meaning, nor for existence, but to sublimate meaning from existence, and then use the sublimated meaning to create existence. If we think about this problem in terms of the functionality of art, then it is no longer a work of art, but a functional thing. As a living person, I can play the role of an artist and a craftsman at the same time.

I can make artistic things, and if I need to, I can also make films, animations, games, or all kinds of people and sound designs. The existence of these two is not contradictory, but they are really two different things. <>

Sound art, the Chinese translation of the English word "sound art", appeared in the late 20th century, and was used to refer to a broad sense of sound (including noise and music in the traditional sense) as the main creative medium, advocating respect for sound ontology and valuing active listening rather than "creation".

First of all, it is softer than noise, it is more skillful than noise, and it can make people relax in sound. ** is a very beautiful art, people can't help but revel in it, whether it is beautiful or intense, it has a huge effect of shocking. The good ** lives forever in the world, able to transcend time and space.

As the saying goes, there are thousands of horses in the world first, and then there are Bole, and people who only have good ** but have no appreciation are not a big regret in life? And through the study of ** class, we have been confirmed to be brought into the temple of **, although we can't interpret these**, but at least we can try to appreciate it. Beethoven's Alice, how affectionate and gentle!

How beautiful and shocking his moonlight was! Clayderman, on the other hand, is as intimate as a little jasper, and how fascinating his dream wedding and childhood are! It was the class that gave me a deeper understanding of the class and was able to cultivate my sentiments!

Not only that, but I also learned a lot of very basic knowledge, all the notes are like beating elves, which is so lively and cute! Subsections, paragraphs, roundabout expressions ......It's really loved, heard!