G Douglas Barrett

Biographic Data

ID266716
NAMEG Douglas Barrett
GIVEN NAMESG Douglas
FAMILY NAMEBarrett
SIGNATUREBARRETT G D
ORCID0000-0001-9201-7659
VERIFIEDYes
TOTAL WORKS8
TOTAL CITATIONS0
WORKS AS AUTHOR8
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1983
LATEST PUBLICATION YEAR2022
H-INDEX0

  • "G Douglas Barrett. Review of "There Is No Soundtrack

    Open AccessG Douglas BarrettARTICLECAA Reviews2022

  • ‘How We Were Never Posthuman’

    Open AccessG Douglas BarrettARTICLEtwentieth-century music2022

    This article analyses composer Pamela Z's work in light of critiques of posthumanism from Black studies and sound/music studies. Z's large-scale multimedia work Voci (2003), which the artist describes as a ‘polyphonic mono-opera’, consists of a series of eighteen scenes that combine vocal performance with digital video and audio processing. Z manipulates these sources using the BodySynth, an alternate controller interface that converts bodily ges…

  • Contemporary Art and the Problem of Music

    Open AccessG Douglas BarrettARTICLEtwentieth-century music2021

    This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a…

  • The Brain at Work

    Open AccessG Douglas BarrettARTICLEPostmodern Culture2017

    This essay examines cognitive labor and the posthuman brain in composer Alvin Lucier's Music for Solo Performer (1965). Alongside a discussion of the historical relationships between cybernetics, posthumanism, and political economy, it contextualizes Lucier's neurofeedback experiments in light of the expansion of the military-industrial complex and the large-scale labor transformations of late capitalism. Read as staging the performer's "brain at…

  • The Limits of Performing Cage

    Open AccessG Douglas BarrettARTICLEPostmodern Culture2013

    Ultra-red’s SILENT|LISTEN (2005-06) consists of a series of events in which statements addressing the AIDS epidemic are presented alongside Cage’s silent composition 4′33′′ (1952). Ultra-red’s intervention refers to activist collective ACT UP’s militantly anti-homophobic slogan, “SILENCE = DEATH,” while implicating the cultural politics of Cagean silence, 4′33′′ ’s contested status as part of an historically specific strategy of queer resistance …

  • The Silent Network—The Music of Wandelweiser

    G Douglas BarrettARTICLEContemporary Music Review2011References: 13

    This essay examines Wandelweiser as a unique social and artistic formation while considering the social import of the group's artistic works. Tracing Wandelweiser's history and analyzing a selection of its musical works, the group is considered in relation to historical avant-garde movements and contemporary network theory. Though lacking an official manifesto, Wandelweiser's aesthetic program can be located largely in its interpretations of John…

  • LiveScore

    G Douglas Barrett, Michael WinterARTICLEContemporary Music Review2010

    LiveScore is the title given to an interactive music piece and a software tool created by composer, multi-instrumentalist, improviser, and software programmer Harris Wulfson (1974–2008). The software allows network streaming of real-time notation delivered to one of several client computers. The interactive music piece consists of this real-time notation system set up for audience control. The authors describe both the musical work and the softwa…

  • Currents in Japanese Cinema

    Audie Bock, G Douglas Barrett et al.ARTICLEJournal of Japanese Studies1983