Background Noise: Perspectives on Sound Art

by Brandon LaBelle

Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle’s book is informed by spatial thinking – weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art.

At its center the book presupposes an intrinsic relation between sound and its location, galvanizing acoustics, sound phenomena, and the environmental with the tensions inherent in what LaBelle identifies as sound’s relational dynamic. For the author, this is embedded within sound’s tendency to become public expressed in its ability to travel distances, foster cultural expression, and define spaces while being radically flexible.

How does sound embed us within local environments while connecting us to a broader circumference? What consequence does sound art have for notions of spatiality and site-specific practice? Can we engage questions of identity and subjective experience in relation to listening and the resonance of place? Such questions are addressed through consideration of the work of a range of artists, musicians, performers, and composers, including Vito Acconci, Maryanne Amacher, Michael Asher, John Cage, Bill Fontana, Christof Migone, Max Neuhaus, Yasunao Tone, Achim Wollscheid, and Iannis Xenakis.

Intersecting material analysis with theoretical frameworks spanning art and architectural theory, performance studies, and media theory, Background Noise makes the case that sound art should be at the core of contemporary culture.

Genres: Music, Art, Nonfiction, Theory

336 pages, Paperback

First published April 1, 2006

About the author

Brandon LaBelle is Professor in New Media in the Faculty of Fine Art, Music and Design at the University of Bergen. He is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary, Diary of an Imaginary Egyptian, Acoustic Territories: Sound Culture and Everyday Life, and Background Noise: Perspectives on Sound Art.

Reviews

[S. Alberto ঌ⁻⁷ (semi-active, always yearning) · Rating 4 out of 5]

If you’re doing a presentation on sound art performance or sound art situations—LaBelle is the guy. This book is basically canon in the sound studies world, and it absolutely delivered when I needed something solid and reliable to help me prep for presenting our seminar reading to the rest of the lecture group.

Background Noise does exactly what it says it will: it gives context, depth, and a strong foundation for thinking about sound art not just as an aesthetic practice, but as a spatial, cultural, and political one. LaBelle breaks down key movements, artists, and philosophies, and even though the text can get dense at times, it’s still approachable if you’re willing to stay tuned in (pun intended).

Four stars because while it’s foundational, some parts could have been a bit more streamlined—but honestly? I can’t even be mad. It gave me the vocabulary, the references, and the confidence to present like I knew what I was talking about. A must-read if you’re entering the sound art discourse. 🎧📚

[Dawn · Rating 5 out of 5]

A fantastic book on sound and the arts that is very in-depth and extensive. If I remember correctly it's very John Cage and American composer/artist heavy which may put some off. For myself, growing up and wanting to understand more about experimental music and sound art this was invaluable so it holds a dear place in my mind.

[Matthew Butler · Rating 4 out of 5]

A comprehensive yet accessible tour through the aesthetic category of "sound art". The throughline here is, of course, Cage and the idea of all of sound as a unifying force. More broadly, the book concerns sonic expression in art, ecology, music, information, nature, and people. An excellent introduction to the topic but extensive in its scope and erudite in its focus.

[Seth · Rating 4 out of 5]

A great book that helps to tie together the still nebulous (and more exciting because of it) art practice known most broadly as sound art. Focuses a lot on site specificity and architecture and performance in discussing a variety of sound art projects as relational art/media. Really interesting and well researched.

[Jsun · Rating 4 out of 5]

nice history of sound art. interesting archeology of thinking and listening. I've read it through once now I return to it occasionally to get my facts right and scratch my chin on the dense language.

[Penny · Rating 4 out of 5]

don't stop.
get it.
get it.

[Cambra · Rating 4 out of 5]

body body body body body

[Crimeny!]

NOISE! what/where/how/when is it made/perceived/interpreted?
super duper, so far...