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Sounding the GalleryVideo and the Rise of Art-Music$
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Holly Rogers

Print publication date: 2013

Print ISBN-13: 9780199861408

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780199861408.001.0001

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Towards the Spatial

Towards the Spatial

Music, Art, and the Audiovisual Environment

(p.82) 3 Towards the Spatial
Sounding the Gallery

Holly Rogers

Oxford University Press

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

Keywords:   Spatial expansion, listening, viewing, audience, László Moholy-Nagy, Siegfried Giedion, Christopher Small, Brian O’Doherty, performance art, installation art, performativity

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