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Noise, Water, Meat: A History of Sound in the Arts
Douglas Kahn

The MIT Press, 2001 - 472 pages

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A new voice for the silent spots in audio-theories

If at times overly academic, Douglas Kahn's seminal work "Noise, Water Meat: A History of Sound in the Arts" should be required reading for any course related to sound and such audio-visual domains as film and television.

In his book Kahn adresses the historical changes (or, development?) in noise abatement, looking at noise as a cultural, musiological and essentially political phenomenon (with an apparent inspiration from Jacques Attali). Accompanying the different types of noise abatement in Western modernity (as voiced e.g. by Arthur Schopenhauer), are also - as Kahn illustrates - different experiments into the use of noise, whether defined as a strictly musical or cultural phenomenon. In music we thus find such experimental composers as John Cage and Pierre Schaeffer (exploring different types of musique concrète), in film we find early auteurs as Dziga Vertov, Sergei Eisenstein and Grigori Alexandrov (through the use of natural sounds, asynchronism and different sonic counterpoints). Even in other - less obviously sonic - arts may we find otherwise elaborate experiments with sounds and noise(s). Take for example the vivid attempts at breaking the rigid rules of communication and narration through distinctly phonetical, verbo-literary experiments in the works of James Joyce and William Burroughs - or the creative disruption of the organic line in the paintings of say Gerhard Richter.

Further examples could be found ad nauseum, and Douglas Kahn goes to great length in his interesting and well-documented explorations. Noise IS a part of the arts as much as our close environment, whether we register or hope to reject it.

Kahn's pioneer-footsteps, thus, leave a vivid trail for others to follow, for in his book - if nothing else - he has shown how different sonic experiments (and, more specifically, different types of noise) are all around us. Instead of conservative strategies of silencing and abatement, we should listen!



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invaluable content. challenging vocabulary.

The subject and content of this book is of great interest to me, and the book delivers quite well. The only fault I could find was in the use of a superfluously extensive vocabulary. I would compare it to listening to comedian Dennis Miller do stand up. It's often funny, but the guy is so knowledgeable as to leave me blank too often. It is such a good book that I'm discouraged by what I perceive as a limited audience potential.

Still, I give 5 stars without hesitation, since the book is a great read that got my creative juices flowing and brought me up-to-date regarding the history of art forms in which I am deeply involved. Setting aside the excessively rigorous verbiage, it is very well written. I highly recommend it.


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An astonishing history of art

This astonishing history of twentieth century art offers a deep and profound view of intermedia and multimedia through the aspect of sound. Kahn's narrative is beautifully written and well researched. He supports the text with a wealth of documentary sources that permit further research. This book is a seminal contribution to research in intermedia, multimedia, and media studies. KF

Book review published in Design Research News, Volume 6, Number 8, Aug 2001 ISSN 1473-3862.






fascinating, with a brilliant critique of Cage

Kahn's text sprawls over 358 pages, and is filled with innovative insights into the auditory component of the 20th century avant-garde. I found the most brilliant section to be his critique of John Cage. Cage created music with the aim of "quieting the mind, to open it to divine influence." Kahn is the first to articulate what I have felt, that Cage, the zen anarchist, is just as manipulative with this goal as any tonal symphonic architect! As Kahn puts in,

"...Cagean silence...has silenced other things, as it dwells at the problematic edge of audibility and attempts to hear the world of sound without hearing aspects of the world in a sound" (p. 4) Kahn turns on its head Cage's stated aim of "just letting sound be," speaking rather of "Cage's dominion of all sound and always sound," a project to turn all sound into music! (p. 197)

Much of the rest of the book, the sections on "Water Flows and Flux" and "Meat Voices," is a wandering chronicle of various avant forms, and Kahn has fun with organic analogies. But it's a fascinating trip through little-known terrain, and Kahn is a fearless and creative guide!


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This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it--to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.


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