field studies

"Sound, harmony and music are intimately connected with culture and the question of good and bad sound is politically charged. Each revolution has its own music. If we listen, rather than look, there is a whole new and curious world to be discovered.....  How can listening to the city and working with recorded sound become part of the creative process of making architecture?"  via (london metropolitan university) image, Marc Behrens

the political economy of music

"Attali's essential argument in Noise: The Political Economy of Music is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For Marxist critics, this idea is nothing new. The novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place."  jameson via wikipedia, noise:the political economy of music (image: thurston moore, brooklynpaper)

Arsenij Avraamov

"During the early Soviet era many artists attempted to integrate technology and creativity; Avraamov's work typifies this trend. He invented a graphic-sonic art which was produced by drawing directly onto magnetic tape. He also sought to overcome equal temperament and tonality by his creation of an ‘ultrachromatic’ 48-tone system. This method was proposed in a thesis entitled Universal'naya sistema tonov (‘The Universal System of Tones’) and was realized in his demonstrations which took place in 1927 in Berlin, Frankfurt and Stuttgart. He is considered a precursor of the musique concrète movement with his Simfoniya gudkov (‘Symphony of Factory Sirens’) which was performed in Azerbaijan in 1923 and later in Moscow." via