
Background Noise, Second Edition: Perspectives on Sound Art
Brandon Labelle
Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art.
At its center the book presupposes an intrinsic relation between sound and its location, galvanizing acoustics, sound phenomena, and the environmental with the tensions inherent in what LaBelle identifies as sound's relational dynamic. For the author, this is embedded within sound's tendency to become public expressed in its ability to travel distances, foster cultural expression, and define spaces while being radically flexible.
This second expanded edition includes a new chapter on the non-human and subnatural tendencies in sound art, revisions to the text as well as a new preface by the author. Intersecting material analysis with theoretical frameworks spanning art and architectural theory, performance studies and media theory, Background Noise makes the case that sound and sound art are central to understandings of contemporary culture.
Product Details
About Brandon Labelle
Reviews for Background Noise, Second Edition: Perspectives on Sound Art
The Wire 2010
Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art.
Dailywatch.com
Reading Background Noise for the first time introduced me to the world of sound art, to its rich history, its incredible variety of concrete works, its overview of artists working in the field, and its discourses. It taught me how to think about sound in relation to space instead of time. Now, some seven years later, Background Noise is still one of my most important sources. It is a must-read for anyone interested in auditory culture and sound art.
Marcel Cobussen is editor-in-chief of The Journal of Sonic Studies and co-editor of The Routledge Sounding Art Companion (2015)
There are stones here. Stones gathered with great shrewdness by Brandon LaBelle from the broad shore of relational artistic practice; each carries the weight of its own historical significance; each is perfectly shaped to deliver its conceptual impact; each is thrown outwards in just the right sequence and with just the right trajectory to set the ripples running, producing patterns that continue to inspire the reader long, long after the momentum of the book has come to rest. Background Noise is the very best of books: as reverberant as the phenomena it so beautifully articulates.
Angus Carlyle, Professor of Sound and Landscape, University of the Arts London, UK