LEADER 03685oam 2200697M 450 001 9910778886703321 005 20190503073415.0 010 $a0-262-27667-4 010 $a1-282-09991-4 010 $a0-585-25598-9 035 $a(CKB)111004366552000 035 $a(OCoLC)614457401 035 $a(CaPaEBR)ebrary10225289 035 $a(SSID)ssj0000211714 035 $a(PQKBManifestationID)11175536 035 $a(PQKBTitleCode)TC0000211714 035 $a(PQKBWorkID)10155529 035 $a(PQKB)10270405 035 $a(SSID)ssj0000519247 035 $a(PQKBManifestationID)12214420 035 $a(PQKBTitleCode)TC0000519247 035 $a(PQKBWorkID)10496005 035 $a(PQKB)22247900 035 $a(MiAaPQ)EBC3338835 035 $a(OCoLC)860587376$z(OCoLC)939263660 035 $a(OCoLC-P)860587376 035 $a(MaCbMITP)5030 035 $a(Au-PeEL)EBL3338835 035 $a(CaPaEBR)ebr10225289 035 $a(CaONFJC)MIL209991 035 $a(OCoLC)939263660 035 $a(PPN)187487863 035 $a(EXLCZ)99111004366552000 100 $a20011030e20011999 fy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aNoise, water, meat $ea history of sound in the arts /$fDouglas Kahn 210 $aCambridge, Mass. ;$aLondon $cMIT Press$d2001 215 $a1 online resource (ix, 455 pages) $cillustrations 300 $aOriginally published: 1999. 311 0 $a0-262-61172-4 311 0 $a0-262-11243-4 320 $aIncludes bibliographical references and index. 327 $aListening through history; prelude: modernism; explanations and qualifications pt. I. Significant noises. Immersed in noise. Noises of the avant-garde pt. II. Drawing the line: music, noise, and phonography. Concerning the line. The sound of music. Ubiquitous recording pt. III. The impossible inaudible. John Cage: silence and silencing. Nondissipative sounds and the impossible inaudible. The parameters of all sound pt. IV. Water flows and flux. A short art history of water sound. In the wake of dripping: New York at midcentury pt. V. Meat voices. Two sounds of the virus: William Burroughs's pure meat method. Cruelty and the beast: Antonin Artaud and Michael McClure 330 $aAn examination of the role of sound in twentieth-century arts.This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it--to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov. 606 $aSound in art 606 $aArts, Modern$y20th century 610 $aARTS/General 615 0$aSound in art. 615 0$aArts, Modern 676 $a700 700 $aKahn$b Douglas$f1951-$0778582 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910778886703321 996 $aNoise, water, meat$91689970 997 $aUNINA