| Popis: |
The author is examining the interplay between voice and sculpture, within the field of sound art. The term 'sculpture' has been appropriated by many artists to define their work with the voice. Exploring the sculpted voice, three main categories are here identified: the plastic dimension of voice as a sculptable material, the sculptural spatialisation of voice in the context of a sound installation and the extended voice in performing art. Sculpted voices can be found in a 2D format such as electroacoustic recordings - the surprising 'Étude vocale [Motet]' (1952) of pitched and spliced voices by Monique Rollin - as well as in the form of a 'voice-sculpture' within a three-dimensional configuration. Analysing two major works: Janet Cardiff ‘s 'The Forty Part Motet' (2001) and Susan Hiller’ s 'Witness' (2000), the author investigates the work of artists whose background in the expanded field of sculpture informs their practice, thus applying similar sculpting principles to the voice. |
