Index
Contents
Acknowledgements vii
Introduction: Auditory Relations ix
Fade In xvii
PART I: 4'33": Sound and Points of Origin 1
Introduction to Part 1 3
Chapter 1 Sociality of Sound: John Cage and Musical Concepts 7
Chapter 2 Exposing the Sound Object: Musique Concrete's
Sonic Research 24
Chapter 3 Automatic Music: Group Ongaku's Performative Labors 35
PART 2: Box with the Sound of Its Own Making: From
Gags to Sculptural Form 47
Introduction to Part 2 49
Chapter 4 Rhythms of Chaos: Happenings, Environments, and Fluxus 54
Chapter 5 Minimalist Treatments: La Monte Young and Robert Morris 68
Chapter 6 Conceptualizations: Michael Asher and the Subject of Space 87
PART 3 : I Am Sitting in a Room: Vocal Intensities 99
Introduction to Part 3 101
Chapter 7 Performing Desire/ Performing Fear: Vito Acconci and the Power
Plays of Voice 108
Chapter 8 Finding Oneself: Alvin Lucier and the Phenomenal Voice 123
Chapter 9 Word of Mouth: Christof Migone's Little Manias 133
PART 4: Public Supply: Buildings, Constructions, and
Locational Listening 147
Introduction to Part 4 149
Chapter 10 Tuning Space: Max Neuhaus and Site-Specific Sound 154
Chapter 11 Other Architectures: Michael Brewster,
Maryanne Amacher, and Bernhard Leitner 167
Chapter 12 Composing Intensities: Iannis Xenakis's
Multimedia Architectures 183
PART 5: Soundmarks: Environments and Aural Geography 195
Introduction to Part 5 197
Chapter 13 Seeking Ursound: Hildegard Westerkamp, Steve Peters,
and the Soundscape 201
Chapter 14 Language Games: Yasunao Tone and the Mechanics
of Information 218
Chapter 15 Complicating Place: Bill Fontana and Networking
the Soundscape 230
PART 6: Global Strings: Interpersonal and Network Space 243
Introduction to Part 6 245
Chapter 16 Interactions: Achim Wollscheid's Production of the Local 251
Chapter 17 Global Events: Atau Tanaka and Network as Instrument 267
Chapter 18 Live Streams: Apo33 and Multiplying Place 280
Fade Out 293
Conclusion: Auditive Pivot 295
List of Works Cited 299
Index 309
