Description

Sounding the Gallery argues that early video art is an audiovisual genre. The new video technology not only enabled artists to sound their visual work and composers to visualise their music during the 1960s: it also initiated a spatial form of engagement that encouraged new relationships between art / music practices and their audiences.

CONTENTS

Introduction
1 Composing with Technology: The Artist-Composer
2 Silent Music and Static Motion: The Audio-Visual History of Video
3 Towards the Spatial: Music, Art and the Audiovisual Environment
4 The Rise of Video Art-Music: 1963-1970
5 Interactivity, Mirrored Spaces and the Closed-Circuit Feed: Performing Video
Epilogue: Towards the Twenty First Century
Index