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sound art: 11 Text passages

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1. Dieter Daniels «Media → Art / Art → Media Forerunners of media art in the first half of the twentieth century»
was already completely underway in the USA at the time. The receptive-analytical strategy: John Cage and radio In the USA, John Cage found scope for a new definition of the medium deriving from receivers, rather than broadcasters. In his 1951 composition [more]

2. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
decades. Various artistic attitudes and changes in the media landscape will be revealed. Even in the 1950s, Lucio Fontana, John Cage and Guy Debord were staking out possible artistic positions relating to television, radio and film, ranging from total [more]

3. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
of video art today. His path leads from studying classical music in Korea and Japan via his discovery of Arnold Schoenberg to John Cage and an interest in electronic music, and finally to work with electronic images. His first major presentation was called [more]

4. Golo Föllmer «Audio Art»
carriers of a music consisting of timbres of noise. Radio art With his piece «Imaginary Landscape No. 4,» in 1951 John Cage was the first person to perform the peculiarities of the radio—the cheeping and hissing, the accidental juxtaposition of [more]

5. Golo Föllmer «Audio Art»
from the media we receive.[21] Principles of chance With his composition «Imaginary Landscape No. 1,» in 1939 John Cage applied techniques similar to those of Pierre Schaeffer, however he used test records with sine tones, thus keeping to the [more]

6. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
same time, these artists displayed a decided interest in the technological conditions of society. Artists like Allan Kaprow, John Cage and later the Fluxus artists did not just want to concede chance and indeterminacy a primary role in art, but were [more]

7. Söke Dinkla «Virtual Narrations From the crisis of storytelling to new narration as mental potentiality»
exerted a major influence on the fine arts—above all conceptual art, with its great mastermind and inspirational figure, John Cage—but also on experimental film. The significance of Joyce is evident not only in individual works, such as John [more]

8. Oliver Grau «Immersion and Interaction From Circular Frescoes to Interactive Image Spaces»
[42] The history of interaction began before the computer era, cf. Söke Dinkla, Pioniere Interaktiver Kunst von 1970 bis heute, Ostfildern, 1997. Interaction is already the theme and a significant aspect of works by John Cage and Umberto Eco's «Opera Aperta»; cf. the text «Interaction, Participation, Networking.» [more]

9. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
by John Cage, Allan Kaprow, George Brecht and others connected with the Happening and Fluxus movements in the 1950s and 1960s. John Cage's famous compositions «4'33''» (1952) or «Imaginary Landscape No. 4» (1951) can be cited as [more]

10. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
(1984), the collaborative Minitel writing project staged for the exhibition «Les Immatériaux» (1985), John Cage's «The First Meeting of the Satie Society» (1986), the «Planetary Network» devised by Roy Ascott and [more]

11. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
of productive dysfunctionality. From the «open artwork» (Umberto Eco) and the musical practices of an artist like John Cage, a link leads to the first processual video experiments with Sony's «open reel» for its CV- and AV-Portapak [more]