Inflamed invisible : collected writings on art and sound, 1976-2018 / David Toop.

by Toop, David [author.]Looking glass.

Series: Goldsmiths Press sonics series: Publisher: London, England : Goldsmith's Press, 2019.Description: vii, 292 pages ; 24 cm.ISBN: 1912685167; 9781912685165.Subject(s): Art and musicLooking glass | ArtLooking glass | Sound installations (Art)Looking glass | SoundLooking glassNote: Includes bibliographical references, discography (pages 281-287) and index (pages 288-292). Summary: In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art. Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works. 'Inflamed Invisible' collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.
Item type Home library Collection Class number Status Date due Barcode Item reservations
Long loan Central Saint Martins
Main collection
Printed books 709.04094 TOO (Browse shelf (Opens below)) Issued 30/11/2021 54299772
Total reservations: 1

Enhanced descriptions from Syndetics:

A rich collection of essays tracing the relationship between art and sound. In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience- the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory- stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art.
Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works.
Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.

Includes bibliographical references, discography (pages 281-287) and index (pages 288-292).

In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art. Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works. 'Inflamed Invisible' collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.

Table of contents provided by Syndetics

  • Note to the Reader (p. ix)
  • Introduction (p. 1)
  • 1 Archiving clouds of sounding dust (p. 5)
  • Sonic Boom (p. 7)
  • Sonic Meditations: Pauline Oliveros (p. 22)
  • 2 Spirits eruptions inflammations (p. 29)
  • Sleep music, the underworld: on hearing Áine O'Dwyer's Gallarais and the subsequent conversations between November 2016 and January 2017 (p. 31)
  • Stephen Cripps: Exploding Practice Inevitable (p. 33)
  • The Future Is Not Always Bright: Daphne Oram and Lily Greenham (p. 42)
  • The Sweat of Toads: Victor Grippo and Tania Chen (p. 45)
  • Joachim Koester: The Art of Memory and Forgetting (p. 48)
  • 3 Hysteria machines ghosts tremors (p. 57)
  • Realm of the Senses, for Camille Norment (p. 59)
  • A Piercing Silence: James Richards (p. 65)
  • Gilbert & George: The Singing Sculpture (p. 70)
  • Stick, Spit, Reed and Tubing: Writing on Seymour Wright (p. 83)
  • 4 Holes traps bat caves moths fluttering (p. 87)
  • Trap set: Haroon Mirza (p. 89)
  • Crying: on Alvin Lucier's The Duke of York (1971) (p. 99)
  • 5 Soft edges flickers stitches traversal (p. 101)
  • The Woman Seen Sweeping the Sea: Annabel Nicolson escaping notice (p. 103)
  • Memorising wilderness: Alvin Lucier (p. 108)
  • Mieko Shiomi, Spatial Poem No. 7 (At the time listed below listen to the sounds around you for a while) (p. 111)
  • This is not a bee, it could be a kind of shadow: Rolf Julius (p. 112)
  • 6 Ancestor voices memories distortion (p. 121)
  • ... I listen to the wind that obliterates my traces music in vernacular photographs 1880-1955: steve roden (p. 123)
  • Displacing the Air; The Marfa Sessions, Christina Kubisch, Stephen Vitiello, Steve Roden, September 2008, curated by Regine Basha, Rebecca Gates and Lucy Raven (p. 128)
  • Apparitions in rayon: Mike Cooper (p. 131)
  • A Cat with Strange Fur: Akio Suzuki (p. 135)
  • Two Scenes: Lav Diaz (p. 138)
  • Loré Lixenberg: Memory Maps (p. 140)
  • Lingering Tones: for Danny McCarthy's exhibition - Beyond Silence: A Bell Rings in an Empty Sky, Crawford Art Gallery, Cork, 2017 (p. 142)
  • Hot Tea from the Spout of a Black Pot: for O Yama O (p. 144)
  • 7 Kwatz graaak blap wonnnng txtspl (p. 147)
  • Mmmmmmmm, wonnnng and won: Music and Collaboration in the Work of Nathalie Djurberg and Hans Berg (p. 149)
  • Dsh: apophatic wu-ness (p. 157)
  • Blatzwurds of deepwar plasma: the noise of Jeff Keen (p. 160)
  • Raging dancing word destruction: Bob Cobbing (p. 164)
  • 8 Listening moving marking (p. 167)
  • Sounds Passing Through Circumstances: Francis Alÿs (p. 169)
  • A Ghost Travelling a Half Mile Ahead of Its Own Shape: Faulkner and Caravaggio (p. 177)
  • Sound Thinking: Stuart Marshall (p. 180)
  • Live at The Filmmakers Co-op: Stuart Marshall (p. 184)
  • 9 Nothing silence black not-black invisible (p. 187)
  • Less Is More; More Is More: Ryoji Ikeda (p. 189)
  • Black Is Black: Ad Reinhardt (p. 199)
  • It Is Nothing: Picasso's Guitars (p. 206)
  • No boundary condition: Shirazeh Houshiary (p. 209)
  • Nothing Hear: John Cage & John Latham (p. 216)
  • Folding: Lucie Stepankova (p. 228)
  • 10 Clocks hearts nervous tic stutters (p. 231)
  • Painting in Slang: Christian Marclay (p. 233)
  • Pink glisten for Carsten Nicolai (p. 245)
  • Automatic Writing: Robert Ashley, Cevdet Erek, Mary Butts, Dorothy Richardson (p. 246)
  • 11 Agitations surfaces decomposition (p. 251)
  • Instruments of Non-Existence (through which Heaven and Earth Seek Reconciliation) (p. 253)
  • Everything Is Vibrating: Hugh Davies (p. 258)
  • Filament Drums: the endless instrument, for Tomás Saraceno (p. 268)
  • Tania Chen plays John Cage and David Tudor - Electronic Music for Piano (p. 273)
  • Trembling Between States: Rie Nakajima (p. 277)
  • List of tracks (p. 281)
  • Index (p. 288)

Author notes provided by Syndetics

David Toop is a musician, writer, and Professor of Audio Culture and Improvisation at the London College of Communication, University of the Arts London. He is the author of Ocean of Sound , Sinister Resonance , Into the Maelstrom , and other books.

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