TY  - BOOK
AU  - Kahn,Douglas
AU  - Whitehead,Gregory
TI  - Wireless imagination: sound, radio, and the avant-garde 
SN  - 026261104X (pbk.)
AV  - NX650.S68 W57 1992
PY  - 1994///, 1992
CY  - Cambridge, MA
PB  - MIT Press
KW  - Sound in art
KW  - Arts, Modern
KW  - 20th century
KW  - Avant-garde (Aesthetics)
KW  - History
N1  - Originally published in 1992; Includes bibliographical references (p.434-437) and index; Introduction: Histories of sound once removed / Douglas Kahn -- The phonograph's horned mouth / Charles Grivel. The lamentations of Edison, from L'Eve Future (1886) / Villiers de L'Isle-Adam -- Death in light of the phonograph: Raymond Roussel's Locus Solus / Douglas Kahn -- Marcel Duchamp's gap music: operations in the space between art and noise / Craig Adcock -- Banging on the windowpane: sound in early surrealism / Christopher Schiff. Give me the anathema, lascivious thing (1915) / Alberto Savinio -- Songs from the museum of the future: Russian sound creation (1910-1930) / Mel Gordon. The Symphony of sirens (1923) / Arseni Avrasamov -- Out of the dark: notes on the nobodies of radio art / Gregory Whitehead. La Radia (1933) / F. T. Marinetti and Pino Masnata -- Radio, death, and the devil: Artaud's Pour en finir avec le Jugement de Dieu / Allen S. Weiss. To have done with the Judgment of God (1947) / Antonin Artaud; Soundplay: The Polyphonous tradition of German radio art / Mark E. Cory -- The Ear that would hear sounds in themselves: John Cage 1935-1965 / Frances Dyson -- Sound identity fading out: William Burroughs' Tape experiments / Robin Lydenberg
N2  - Wireless Imagination directly addresses what is perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio and radio art; By gathering both original essays and several newly translated documents into a single volume, editors Douglas Kahn and Gregory Whitehead provide a close audition to some of the most telling and soundful moments in the "deaf century," including the fantastic acoustic scenarios projected through the writings of Raymond Roussel, the "gap music" of Marcel Duchamp, the varied sonic activities of the early Russian avant-garde and of French Surrealism, the language labyrinths constructed by the producers of New German Horspiel, and the cut-up ventriloquism of William S. Burroughs. Approaches in the essays vary from detailed historical reconstructions to more speculative theory, providing a rich chorus of challenges to the culturally entrenched "regime of the visual." Supporting documents include F. T. Marinetti's explosive manifesto on the aesthetics of Futurist radio and the full text of Antonin Artaud's blistering radio performance, To Have Done with the Judgment of God; Although the editors stress in their preface that this book should not be read as a comprehensive Last Word but rather as an opening to future discourse, Wireless Imagination certainly offers compelling evidence that the numbing silence surrounding sound was made to be broken
ER  -