Laurent Schmid and Roxane Bovet
Note from the editor:
From the beginning of its existence, the record has been used by visual artists as a form of dissemination for their sound practice. First experimented with by the early avant-garde movements, the role of these sound media was later redefined in the context of the proliferation and hybridization of forms between sound and language. While recording media such as records or cassettes were used to document Fluxus happenings, readings, and concerts, they also became a medium in their own right, used by artists to convey their experiences. Moreover, the current economic and technological context has generated a strong interest in editorial and multiple artistic practices. A-sides highlights a network of actors linked to the Lake Geneva scene on the history of encounters and artistic exchanges that generate sound productions. The works produced, as well as the methods of exploration of this international network, have formed the basis of this anthology of artists’ sound publications. A-sides provides an overview of the conditions and motivations that give rise to the creation of sound recordings as an art form and explores the ambiguity of the relationship between the current technological context, which is moving towards dematerialization, and the persistence of sound practices disseminated on tangible recording media.
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