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sound art: 7 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»wore himself out vainly trying to make sound montages using gramophone records before finding his way into film montage; Ruttmann built a film camera and even had it patented. Then in the mid 1920s, concepts emerged in and around the Bauhaus for [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» than in the case of other invented and found image-making processes in the early twentieth century. For example, around 1920 Walter Ruttmann, Viking Eggeling, Hans Richter and Marcel Duchamp were also all working on the first abstract films at the same time, to an [more] |
| 3. Golo Föllmer «Audio Art» different speeds. He did not get beyond the experimental stage. For the first successful noise composition experiment, in 1930 Walter Ruttmann did not use the unwieldy gramophone, but rather the optical sound technology that had been developed for film a year prior to [more] |
| 4. Golo Föllmer «Audio Art» art, which in the nineteenth century was understood purely as spatial art, could come closer to the temporal art of music. Walter Ruttmann's composition «Lichtspiel Opus I,» which premiered in 1921, mobilizes abstract visual forms and colors in a [more] |
| 5. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» of film is considered an extension of the artistic spectrum, a means of transferring painting to the dimension of movement. Walter Ruttmann, one of the protagonists of abstract film, observes an accelerated form of intellectual engagement with information and [more] |
| 6. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» film matinee «Der absolute Film»[9] is presented, including contributions by Hans Richter, Viking Eggeling, and Walter Ruttmann. Other than commenting on technical deficiencies, the critics receive these experiments in animated film quite positively, [more] |
| 7. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» [41] Walter Ruttmann denounced artists' dependence on industry in the film world as early as 1930 in his essay «Kunst und Technik,» reprinted in Film als Film–1910 bis heute, Birgit Hein/Wulf Herzogenrath (eds.), Stuttgart, 1977, p. 65. [more] |
