Relationship between Sound and Space in I am Seating in a Room by Essay

Relationship among Sound and Space in I am Seating in a Room by Alvin Lucier - Essay ExampleInstead, the fraudists who firmly occupy one discipline composers who compose harmony, artists who create visual art, and architects who modality functional quadriceps find themselves more readily embraced by critics and audiences. Artists whose work combines only of these disciplines however ofttimes encounter a chilly, if not confused, critical and audience response. Susan Philipsz, who won the Turner Prize in 2010, has been called the branch artist working with sound to have won the prize, and some sound artists view this development as a positive harbinger for the discipline as a whole (Searle n.p.) Searle describes Philipsz as just a singer, with the sort of voice you might feel lucky to come across at a house club. But there is much more to Philipsz than a good voice. All singers, of course, are aware of the space their voice occupies, of the difference between one hall and ano ther...But the way Philipsz sites recordings of her voice is as much to do with place as with sound (Searle n.p.). True, Philipszs use of sound is extraordinary. However, Philipsz is still singing in the conventional sense of the word. ... Sound artists define the term polymath they straddle multiple disciplines, including art, music, performance art, and architecture, and become masters in each. However, the critical community has not caught up to the speed at which these artists process the physical world. Aside from the occasional(prenominal) Burning Man performance, for the most part sound artists remain in obscurity. This reality exists because sound art by nature occupies a fractious, shadowy space between deuce critical perspectives that harbor two powerful biases the visual bias of the so-called visual art school of criticism, and the music bias of the music school of criticism. Both biases persist and effectively hamstring critics to discuss one or the other, but neer bo th. Is it art, or is it music? Is it sound, or is it art? As Cox argues, the broader field of sound art has been snub by musicologists, art historians, and aesthetic theorists. The open-ended sonic forms and often site-specific location of sound installations thwart artists musicological analysis, which remains oriented to the formal examination of discrete sound structures and performances, while the purely visual vista of art history allows its practitioners not only to disregard sound art but also to colorise over the sonic strategies of Postminimalism and Conceptualism (Cox 146). Never mind that music itself is a form of sound in fact, all noise that the human ear processes can be conceived of as such yet the polarizing critical perspectives persist, to the disadvantage of scholars and audiences alike. As Cox explains, sound art remains so profoundly undertheorized, andhas failed to generate a sufficient and compelling critical literaturebecause the prevailing theoretical models are inadequate to it.