{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Soundsites: Max Neuhaus, Site-Specificity, and the Materiality of Sound as Place","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/76660"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"The dissertation examines the sound-based artworks, or sound works, of the experimental musician and installation artist Max Neuhaus (1939-2009). This analysis accounts for the diverse roles of sound as an artistic medium in postwar American music, performance, and environmental art, 1958-1980. The dissertation provides a detailed overview of the musical performances, anti-musical compositions, and post-musical installations of Neuhaus and others to situate sound against dominant historical and theoretical accounts of site-specific and environmental art. The dissertation begins with an analysis of Neuhaus\u00e2\u20ac\u2122s tutelage and departure from new music composers John Cage and Karlheinz Stockhausen, 1958-1968, and assesses the diverse artistic, social, and institutional developments of the artist\u00e2\u20ac\u2122s innovative practice of sound installation. The dissertation orients sound installation, and its origin in percussion performance, as a convergence of postwar avant-garde art and music. In particular, this research describes how sound installation anticipated the spatial, temporal and phenomenological conditions of 1970s site-specific art. The dissertation also examines Neuhaus\u00e2\u20ac\u2122s use of printed matter and electronic media, including electronic circuits, phonography, telephone networks, and radio broadcasting, as a nascent model for networked aesthetics. This framework illustrates how the concepts of site and place are conditioned by distributed media environments. Finally, the dissertation proposes a new model of unfixed site-specificity to account for the fluidity of sound in complex material and virtual forms, redefining boundaries of music, sculpture, and public art. In this sonic frame, the act of listening is revealed as an essential paradigm for understanding the concepts of site, materiality, and place in postwar American art."},{"label":"dcterms.available","value":"2017-09-20T16:50:54Z"},{"label":"dcterms.contributor","value":"Bogart, Michele H. Cox, Christoph."},{"label":"dcterms.creator","value":"Eppley, Charles"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:50:54Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:50:54Z"},{"label":"dcterms.description","value":"Department of Art History and Criticism"},{"label":"dcterms.extent","value":"334 pg."},{"label":"dcterms.format","value":"Monograph"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/76660"},{"label":"dcterms.issued","value":"2017-05-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Item reinstated by Jason Torre (fjason.torre@stonybrook.edu) on 2019-01-23T20:21:41Z\nItem was in collections:\nStony Brook Theses and Dissertations Collection (ID: 627)\nNo. of bitstreams: 2\nEppley_grad.sunysb_0771E_13235.pdf.txt: 1210166 bytes, checksum: a9bb46f4c458cbae3c4ed83e7a3bcc57 (MD5)\nEppley_grad.sunysb_0771E_13235.pdf: 1931305 bytes, checksum: d79ce965b3a7151d3408cc77da8315e0 (MD5)"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Art history -- Music -- Acoustics"},{"label":"dcterms.title","value":"Soundsites: Max Neuhaus, Site-Specificity, and the Materiality of Sound as Place"},{"label":"dcterms.type","value":"Dissertation"},{"label":"dc.type","value":"Dissertation"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/10%2F04%2F11%2F100411897980481522082453738275353769610/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/10%2F04%2F11%2F100411897980481522082453738275353769610","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}