Rumour and Radiation: Sound in Video Art
This is a book about video art, and about sound art.
The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form.
Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.
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The starting point was static electronic paintings, not "video art".
Forget the Audio! (it was irrelevant for us)
It was (sadly) forced upon us to have it broadcasted.
It was a urgent broadcast as Paik did see it in Stockholm around August 1966.
Pipilotti Rist Immersing
Pierre Huyghe Repurposing Sound
Steve McQueen The Destabilizing Ground
Jane and Louise Wilson An Other Index
TotalScreen Ryoji Ikeda Carsten Nicolai Granular Synthesis
Ryan Trecartin Videocore
Elizabeth Price Noise Capture
Christian Marclay The Medium as Multiple