Simon Fraser University
Engaging the World

Course Outlines

Fall 2017 - CA 312 E100

Selected Topics in Art and Culture Studies (3)

Sound Art

Class Number: 8263

Delivery Method: In Person

Overview

  • Course Times + Location:

    Sep 5 – Dec 4, 2017: Mon, 5:30–8:20 p.m.
    Vancouver

  • Prerequisites:

    45 units.

Description

CALENDAR DESCRIPTION:

Investigates a selected thematic topic in art and culture studies, for example, postcolonial theory and the arts; perception and embodiment; art activism and resistance; or urban art and culture. May repeat for credit.

COURSE DETAILS:

Since the turn of the century a swarm of historical and critical works have established “sound art” as its own aesthetic genre and practice. However, much of the discourse regarding sound art concerns its interdisciplinary origins and ambiguous nature, which for that very reason makes the practice and our understanding of it exceptionally uneven and unstable. But this is not a bad thing. In fact, sound art’s inveterate obscurity is perhaps what makes it so appealing to contemporary artists who have (ostensibly) learned the (ironic) lessons of postmodernism and its discontents. For this seminar, then, we’ll treat sound art as something essentially inconsistent and protean, and attempt to understand its development as expressive of a broader experimental ethos that by its nature resists disciplinary capture and technical mastery. Furthermore because of sound art's unruliness we will also regard it as a highly political activity that articulates with contemporary issues concerning the relationship between humans, technology, and global capitalism. To pursue this we will read about, listen to, watch, and discuss the ways in which sound communicates, defines spaces, shapes memories and affects the kinds of connections we forge with people, places and objects.  Specific genres, figures, and topics discussed will include: Raymond Roussel, sound poetry, musique concrete, glitch music, installation art, Christina Kubisch, modes of listening, imaginary sounds, Christian Marclay distracted composition, etc….

Course details:

Because this is a seminar, the majority of class time will be devoted to student-led discussions and activities. Each week, two or three students will introduce the week’s topic with a short presentation. These students will also be required bring to class one or more art works (not their own) that illustrate and/or challenge certain of the week’s themes. Students will also be asked to submit weekly reading responses. The major project will be a proposal to curate and stage an exhibition of sound art and will take the form of a researched grant application. This work will be presented in class at the semester’s end and submitted as a 10-page paper. Participation and peer reviews will also be a component of the students’ evaluation.

Grading

  • Class participation 20%
  • Reading responses 15%
  • Seminar provocation 10%
  • Peer review 5%
  • In class presentation 10%
  • Paper 40%

NOTES:

Grading is subject to change.

Materials

MATERIALS + SUPPLIES:

Weekly readings will be made available online

Registrar Notes:

SFU’s Academic Integrity web site http://students.sfu.ca/academicintegrity.html is filled with information on what is meant by academic dishonesty, where you can find resources to help with your studies and the consequences of cheating.  Check out the site for more information and videos that help explain the issues in plain English.

Each student is responsible for his or her conduct as it affects the University community.  Academic dishonesty, in whatever form, is ultimately destructive of the values of the University. Furthermore, it is unfair and discouraging to the majority of students who pursue their studies honestly. Scholarly integrity is required of all members of the University. http://www.sfu.ca/policies/gazette/student/s10-01.html

ACADEMIC INTEGRITY: YOUR WORK, YOUR SUCCESS