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Sound art
Sound art is an artistic discipline in which sound is utilised as a medium. Like many genres of contemporary art, sound art is interdisciplinary in nature, or takes on hybrid forms. Sound art can engage with a range of subjects such as acoustics, psychoacoustics, electronics, noise music, audio media, found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art.〔Kahn. 2001, .〕
In Western art early examples include Luigi Russolo's ''Intonarumori'' or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of sound art, there is often debate about whether sound art falls within the domain of either the visual art or experimental music categories, or both.〔Licht 2007, .〕 Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, spoken word, avant-garde poetry, and experimental theatre.
==Origin of the term in the United States==
The earliest documented use of the term in the U.S. is from a catalogue for a show called "Sound/Art" at The Sculpture Center in New York City, created by William Hellerman in 1983. The show was sponsored by "The SoundArt Foundation," which Hellerman founded in 1982. The artists featured in the show were as follows: Vito Acconci, Connie Beckley, Bill and Mary Buchen, Nicolas Collins, Sari Dienes and Pauline Oliveros, Richard Dunlap, Terry Fox, William Hellermann, Jim Hobart, Richard Lerman, Les Levine, Joe Lewis, Tom Marioni, Jim Pomeroy, Alan Scarritt, Carolee Schneeman, Bonnie Sherk, Keith Sonnier, Norman Tuck, Hannah Wilke, Yom Gagatzi. The following is an excerpt from the catalogue essay by art historian Don Goddard: "It may be that sound art adheres to curator Hellermann's perception that "hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood... The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought rather than illusionary space and thought."〔Hellerman and Goddard 1983, .〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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