In The Sands of the Sound Art
Abstract
In the sands of the sound art illustrates the difficulty to define sound art and to submit it to a characterization. This written examines the expression sound art by establishing their links with the artistic avant-garde of the first and second half of the 20th century. This leads to an analysis of the way that the notion of experience is modified regarding what is meant by art, and the importance that takes the notion of experimentation in the musical practices of the 50s and 60s. The crossing between experience and experimentation becomes evident in the importance that the sound receives beyond the musical area, particularly in artistic practices that make the city as a center. The city becomes a great aesthetic machine which the sound art enters into dialogue. In this dialogue there can be outlined some of the forms that the sands of sound art drawn in the city.
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