Gascia Ouzounian's work is focused upon experimental traditions in music and sound art after 1950, with particular interests in sound installation art, site-specific sound, and spatial audio.
With architect Sarah Lappin, Gascia co-leads the research group Recomposing the City: Sonic Art & Urban Architectures (www.recomposingthecity.org).
This article examines two sound installations distributed on CD: Maryanne Amacher’s Sound Charact... more This article examines two sound installations distributed on CD: Maryanne Amacher’s Sound Characters (Making the Third Ear) (1999) and Bernhard Leitner’s KOPFRAUME (HEADSCAPES) (2003). The author undertakes an embodied reception of these works, experimenting with new models of listening and analysis that take into consideration aspects of the built environment, social spaces and imaginary architectures as these are perceived at the intersection of sound, space and the body. Conceptualizations
of space, place and embodiment are engaged; and definitions for sound installation and ‘situated sonic practices’ are offered. The analysis ultimately reveals how the complex, dynamic networks of sound, space, place and embodiment can be understood to
produce and constitute one another.
This article examines two sound installations distributed on CD: Maryanne Amacher’s Sound Charact... more This article examines two sound installations distributed on CD: Maryanne Amacher’s Sound Characters (Making the Third Ear) (1999) and Bernhard Leitner’s KOPFRAUME (HEADSCAPES) (2003). The author undertakes an embodied reception of these works, experimenting with new models of listening and analysis that take into consideration aspects of the built environment, social spaces and imaginary architectures as these are perceived at the intersection of sound, space and the body. Conceptualizations
of space, place and embodiment are engaged; and definitions for sound installation and ‘situated sonic practices’ are offered. The analysis ultimately reveals how the complex, dynamic networks of sound, space, place and embodiment can be understood to
produce and constitute one another.
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Papers by Gascia Ouzounian
of space, place and embodiment are engaged; and definitions for sound installation and ‘situated sonic practices’ are offered. The analysis ultimately reveals how the complex, dynamic networks of sound, space, place and embodiment can be understood to
produce and constitute one another.
of space, place and embodiment are engaged; and definitions for sound installation and ‘situated sonic practices’ are offered. The analysis ultimately reveals how the complex, dynamic networks of sound, space, place and embodiment can be understood to
produce and constitute one another.