Papers by Bernd Herzogenrath
Amsterdam University Press eBooks, Dec 31, 2017
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Bloomsbury Academic eBooks, 2015
Media Matter: An Introduction Bernd Herzogenrath (Goethe-University Frankfurt, Germany) Theory-Ma... more Media Matter: An Introduction Bernd Herzogenrath (Goethe-University Frankfurt, Germany) Theory-Matter Chapter 1: The Meta-Physics of Media Walter Seitter (University of Applied Arts Vienna, Austria) Chapter 2: Media Matter: Materiality and Performativity in Media Theory Katerina Krtilova (Bauhaus-Universitat Weimar, Germany) Text-Matter Chapter 3: Between Print Matter and Page Matter: The Codex Platform as Media Suppoort Garrett Stewart (University of Iowa, USA) Chapter 4: 'Local Color': Light in Faulkner Hanjo Berressem (University of Cologne, Germany) Film-Matter Chapter 5: Figure-Ground: Stills from the Films of Bill Morrison Bill Morrison (Hypnotic Pictures) Chapter 6: Matter that Images: Bill Morrison's Decasia, Bernd Herzogenrath (Goethe-University Frankfurt, Germany) Chapter 7: Moving Images as Ontographic Images Lorenz Engell (Bauhaus-Universitat Weimar, Germany) Chapter 8: Brain Matter and New Phrenologies Challenging Brains with Melancholy and Vice Versa Benjamin Betka (Goethe-University Frankfurt, Germany) Chapter 9: The Media Boundary Objects Concept: Theorizing Film and Media Florian Hoof (Goethe-University Frankfurt, Germany) Art-Matter Chapter 10: Borderline: Nauman's Balls and Acconci's Shoot Eva Ehninger (University of Bern, Switzerland) Chapter 11: The Romantic Readymade: Towards a Material Vitalism of Contemporary Art Stephen Zepke (University of Applied Arts Vienna, Austria) Sound-Matter Chapter 12: Revisiting the Voice in Media and as Medium: New Materialist Propositions Milla Tiainen (University of Helsinki, Finland) Chapter 13: Sonic Matter: The Material Cut-Ups of Christian Marclay Sebastian Scherer (Goethe-University Frankfurt, Germany) Chapter 14: Media Disenchantments Thomas Koner (Composer, Sound-Artist, Belgrade, Serbia, and Nice, France)
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Bloomsbury Academic eBooks, 2022
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Bloomsbury Academic eBooks, 2022
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BRILL eBooks, 2001
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REAL- YEARBOOK OF RESEARCH IN ENGLISH AND AMERICAN LITERATURE, 2010
Is there a ‘meteorology of sound’? What is the ‘weather of music?’ In seminal works of Classical ... more Is there a ‘meteorology of sound’? What is the ‘weather of music?’ In seminal works of Classical music which refer to the seasons [Schumann’s Symphony No 1 (“Fruhling”|“Spring”), Gershwin’s “Summertime,” or Vivialdi’s The Four Seasons], and|or to the weather, such as Beethoven’s Symphony No 6 (“Pastorale”|”The Pastoral Symphony”), with its fourth movement ‘Thunderstorm,’ composers were primarily concerned with an acoustic|musical translation of subjective sense perceptions, i.e., with a representation of nature and natural forces. In this article, however, I am more interested in the question if there is a connection between nature, weather and music beyond representation, if weather phenomena themselves can be music, and if music itself can be ‘meteorological.’ My first thesis is the following: whereas the composers of the 18th and 19th centuries were mainly interested in the representation of the subjective effects of weather phenomena, modern avant-garde composers more and more focus on the reproduction of the processes and dynamics of the weather as a system ‘on the edge of chaos.’ My second thesis is related to the first, but more specific in terms of space and time: a particular American modernist tradition in music from Charles Ives via John Cage to John Luther Adams not only starts with the writings of Henry David Thoreau – Thoreau already provides an aesthetics of music, the radicalism of which is only being followed up today.1 Let me first point out the particularity of Thoreau's musical aesthetics and ‘musical ecology.’ In 1851, Thoreau notes an acoustic experience in his journals that reveals his particular sensibility to the sonic environment:
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Northeastern University Press eBooks, 2012
The artistic heir of sonic artists such as John Cage and James Tenney, John Luther Adams is one o... more The artistic heir of sonic artists such as John Cage and James Tenney, John Luther Adams is one of the most significant and highly regarded contemporary American composers. The Farthest Place is the first critical look at the work of the composer whom the New Yorker critic Alex Ross has called "one of the most original musical thinkers of the new century." While often identified with the Alaska that so inspires him, Adams is anything but a regionalist. Though inspired by the wild and open nature that surrounds him,"Adams does not represent nature through music. He creates tonal territories that resonate with nature-immersive listening experiences that evoke limitless distance, suspended time, deep longing and even transcendence." In addition to the New Yorker piece by Alex Ross, and original essays by Kyle Gann and Wilco's own Glenn Kotche, The Farthest Place includes essays by scholars, critics, composers, and performers, merging theoretical and historical observations, musical and environmental questions with analytical discourse and personal commentaries on Adams's music and thought.
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Modern Language Notes, Dec 1, 2022
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MEDIENwissenschaft: Rezensionen | Reviews, 2018
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transcript Verlag eBooks, Dec 31, 2019
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Amsterdam University Press eBooks, Dec 31, 2017
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Papers by Bernd Herzogenrath