fbpx
Wikipedia

Sound art

March 08, 2023

Sound art is an artistic activity in which sound is utilized as a primary medium or material. Like many genres of contemporary art, sound art may be interdisciplinary in nature, or be used in hybrid forms.[1] According to Brandon LaBelle, sound art as a practice "harnesses, describes, analyzes, performs, and interrogates the condition of sound and the process by which it operates."[2]

In Western art, early examples include Luigi Russolo's Intonarumori or noise intoners (1913), and subsequent experiments by dadaists, surrealists, the Situationist International, and in Fluxus events and other Happenings. Because of the diversity of sound art, there is often debate about whether sound art falls within the domains of visual art or experimental music, or both.[3] Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, electro-acoustic music, spoken word, avant-garde poetry, sound scenography,[4] and experimental theatre.[5]

Origin of term

According to Bernhard Gál's research, the first published use of the term was found in Something Else Press on the cover of their 1974 Yearbook.[6] The first use as the title of an exhibition at a major museum was 1979's "Sound Art" at the Museum of Modern Art in New York (MoMA), featuring Maggi Payne, Connie Beckley, and Julia Heyward.[7] The curator, Barbara London defined sound art as, "more closely allied to art than to music, and are usually presented in the museum, gallery, or alternative space."[8]

Commenting on an exhibition called "Sound/Art" at The Sculpture Center in New York City in 1984 art historian Don Goddard noted: "It may be that sound art adheres to curator Hellermann's perception that 'hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood...The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought, rather than illusionary space and thought."[9]

Sound installation

 
Janet Cardiff's Forty Part Motet (2001) in the ARoS Aarhus Kunstmuseum, Denmark
 
Georges Lentz's 24-hour String Quartet(s) at the Cobar Sound Chapel (2022), with loudspeakers in the four walls

Sound installation is an intermedia and time-based art form. It is an expansion of an art installation in the sense that it includes the sound element and therefore the time element.[10] The main difference with a sound sculpture is that a sound installation has a three-dimensional space and the axes with which the different sound objects are being organized are not exclusively internal to the work, but also external.[citation needed] A work of art is an installation only if it makes a dialog with the surrounding space.[citation needed] A sound installation is usually site-specific, but sometimes it can be readapted to other spaces. It can be made either in closed or open spaces, and context is fundamental in determining how a sound installation will be aesthetically perceived.[citation needed] The difference between a regular art installation and a sound installation is that the latter contains a time element, which gives the visiting public the option to stay longer to explore the development of the sound over time.[citation needed] This temporal factor also gives the audience an incentive to explore the space more thoroughly and investigate the disposition of the different sounds in space.[citation needed]

Sound installations sometimes use interactive art technology (computers, sensors, mechanical and kinetic devices, etc.), but they can also simply use sound sources placed at different points in space (such as speakers), or acoustic instrument materials such as piano strings played by a performer or by the public (see Paul Panhuysen).[citation needed] In the context of museums, this combination of interactive technology and multi-channel speaker distribution is sometimes referred to as sound scenography.[11]

Sound structure in sound installations

  1. The simplest sound form is a repeating sound loop. This is mostly used in Ambient music-like art, and in this case the sound is not the determinant factor of the art work.
  2. The most used sound structure is the open form, since the public can decide to experience a sound installation for just a few minutes or for a longer period of time. This obliges the artist to construct a sound organization that is capable of working well in both cases.
  3. There is also the possibility to have a linear sound structure, where sound develops in the same way as in a musical composition.

Sound sculpture

Sound sculpture is an intermedia and time-based art form in which sculpture or any kind of art object produces sound, or the reverse (in the sense that sound is manipulated in such a way as to create a sculptural as opposed to temporal form or mass). Most often sound sculpture artists were primarily either visual artists or composers, not having started out directly making sound sculpture.[12]

Cymatics and kinetic art have influenced sound sculpture. Sound sculpture is sometimes site-specific.[citation needed]

Sound Artist and Professor of Art at Claremont Graduate University Michael Brewster described his own works as "Acoustic Sculptures" as early as 1970.[13] Grayson described sound sculpture in 1975 as "the integration of visual form and beauty with magical, musical sounds through participatory experience."[14]

Sound sculptures with Wikipedia articles

Gallery

See also

Notes

  1. ^ Szendy, Peter. Listen: A History of Our Ears, Fordham University Press, pp. 5-8
  2. ^ LaBelle, Brandon (2006). Background Noise: Perspectives on Sound Art (London and New York: Continuum), p. ix. ISBN 9780826418449
  3. ^ Goldsmith, Kenneth. Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York, p. 125.
  4. ^ Brückner, Atelier (2010). Scenography / Szenografie - Making spaces talk / Narrative Räume. Stuttgart: avedition. p. 209.
  5. ^ Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York, p. 136.
  6. ^ Gál, Bernhard (December 1, 2017). "Updating the History of Sound Art: Additions, Clarifications, More Questions". Leonardo Music Journal. 27: 78–81. doi:10.1162/LMJ_a_01023. S2CID 57559930.
  7. ^ Dunaway, Judy (May 7, 2020). "The Forgotten 1979 MoMA Sound Art Exhibition". Resonance. 1: 25–46. doi:10.1525/res.2020.1.1.25.
  8. ^ "Museum of Modern Art, Museum exhibition features works incorporating sound, press release no. 42 for Sound Art exhibition 25 June–5 August 1979". No. Exh. 1266. MoMA Archives.
  9. ^ Hellerman, William, and Don Goddard. 1983. Catalogue for "Sound/Art" at The Sculpture Center, New York City, May 1–30, 1984 and BACA/DCC Gallery June 1–30, 1984.[page needed].
  10. ^ Ouzounian, Gascia (2008). Sound art and spatial practices: situating sound installation art since 1958. San Diego: UC.
  11. ^ Brückner, Atelier (2010). Scenography / Szenografie - Making spaces talk / Narrative Räume. Stuttgart: avedition. p. 209.
  12. ^ Fontana, Bill (2008). "The Relocation of Ambient Sound: Urban Sound Sculpture". Leonardo. 41 (2): 154–158. ISSN 0024-094X.
  13. ^ "Claremont Graduate University mourns loss of longtime art Professor Michael Brewster". Claremont Graduate University. 23 June 2016. Retrieved 26 September 2021.
  14. ^ Grayson, John (1975). Sound sculpture : a collection of essays by artists surveying the techniques, applications, and future directions of sound sculpture. A.R.C. Publications. p. V. ISBN 0-88985-000-3.

References

  • Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York
  • Kahn, Douglas. 2001. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: MIT Press. ISBN 0-262-61172-4.
  • Licht, Alan. 2007. Sound Art: Beyond Music, Between Categories (with accompanying compact disc recording). New York: Rizzoli International Publications. ISBN 0-8478-2969-3.
  • Peter Szendy. 2008. Listen: A History of Our Ears, Fordham University Press
  • Brandon LaBelle. 2006. Background Noise: Perspectives on Sound Art, London & New York: Continuum. ISBN 9780826418449.

Further reading

  • Attali, Jacques. 1985. Noise: The Political Economy of Music, translated by Brian Massumi, foreword by Fredric Jameson, afterword by Susan McClary. Minneapolis: University of Minnesota Press. ISBN 0-8166-1286-2 (cloth) ISBN 0-8166-1287-0 (pbk.)
  • Bandt, Ros. 2001. Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks. Sydney: Craftsman House. ISBN 1-877004-02-2.
  • Cage, John. 1961. "Silence: Lectures and Writings". Middletown, CT: Wesleyan University Press. (Paperback reprint edition 1973, ISBN 0-8195-6028-6)
  • Cox, Christoph. 2003. "Return to Form: Christoph Cox on Neo-modernist Sound Art—Sound—Column." Artforum (November): [pages].
  • Cox, Christoph. 2009. "Sound Art and the Sonic Unconscious". Organised Sound 14, no. 1:19–26.
  • Cox, Christoph. 2011. . Journal of Visual Culture 10, no. 2:145–161.
  • Cox, Christoph, and Daniel Warner (eds.). 2004. Audio Culture: Readings in Modern Music. New York: Continuum. ISBN 0-8264-1615-2.
  • Drobnick, Jim (ed.). 2004. Aural Cultures. Toronto: YYZ Books; Banff: Walter Phillips Gallery Editions. ISBN 0-920397-80-8.
  • Groth, Sanne Krogh, and Holger Schulze (eds.). 2020. The Bloomsbury Handbook of Sound Art. New York: Bloomsbury. ISBN 978-1-5013-3879-3.
  • Hegarty, Paul. 2007. Noise Music: A History. New York: Continuum International Publishing Group. ISBN 978-0-8264-1726-8 (hardcover) ISBN 978-0-8264-1727-5 (pbk)
  • Jensenius, Alexander Refsum; Lyons, Michael, eds. (2017). A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. Springer. ISBN 978-3-319-47214-0.
  • Kim-Cohen, Seth. 2009. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. New York: Continuum. ISBN 978-0-8264-2971-1
  • LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York and London: The Continuum International Publishing Group. ISBN 0-8264-1844-9 (cloth) ISBN 0-8264-1845-7 (pbk)
  • Lander, Dan, and Micah Lexier (eds.). 1990. Sound by Artists. Toronto: Art Metropole/Walter Phillips Gallery.
  • Lucier, Alvin, and Douglas Simon. 1980. Chambers. Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-5042-6.
  • Nechvatal, Joseph. 2000. "Towards a Sound Ecstatic Electronica". The Thing.
  • Oliveros, Pauline. 1984. Software for People. Baltimore: Smith Publications. ISBN 0-914162-59-4 (cloth) ISBN 0-914162-60-8 (pbk)
  • Paik, Nam June. 1963. "Post Music Manifesto," Videa N Videology. Syracuse, New York: Everson Museum of Art.
  • Peer, René van. 1993. Interviews with Sound Artists. Eindhoven: Het Apollohuis.
  • Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: Oxford University Press.
  • Schaefer, Janek, Bryan Biggs, Christoph Cox, and Sara-Jayne Parsons. 2012. "Janek Schaefer: Sound Art: A Retrospective". Liverpool: The Bluecoat. ISBN 978-0-9538896-8-6.
  • Schafer, R. Murray. 1977. The Soundscape. Rochester, Vermont: Destiny Books. ISBN 0-89281-455-1
  • Schulz, Berndt (ed.). 2002. Resonanzen: Aspekte der Klangkunst. Heidelberg: Kehrer. ISBN 3-933257-86-7. (Parallel text in German and English)
  • Skene, Cameron. 2007. "". The Montreal Gazette (13 January).
  • Toop, David. 2004. Haunted Weather: Music, Silence, and Memory. London: Serpent's Tail. ISBN 1-85242-812-0 (cloth), ISBN 1-85242-789-2 (pbk.)
  • Valbonesi, Ilari. A.A.A.A.A.A.A. Cercasi Sound Art. ARTE E CRITICA, ISSUE 64, (2010)
  • Wilson, Dan. 2011. "Sonics in the Wildernesses – A Justification." The Brooklyn Rail (April)
  • Wishart, Trevor. 1996. On Sonic Art, new and revised edition, edited by Simon Emmerson (with accompanying compact disc recording). Contemporary Music Studies 12. Amsterdam: Harwood Academic Publishers. ISBN 3-7186-5846-1 (cloth) ISBN 3-7186-5847-X (pbk.) ISBN 3-7186-5848-8 (CD recording)

March 08, 2023
sound, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, august, 2022, learn,. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Sound art news newspapers books scholar JSTOR August 2022 Learn how and when to remove this template message Sound art is an artistic activity in which sound is utilized as a primary medium or material Like many genres of contemporary art sound art may be interdisciplinary in nature or be used in hybrid forms 1 According to Brandon LaBelle sound art as a practice harnesses describes analyzes performs and interrogates the condition of sound and the process by which it operates 2 In Western art early examples include Luigi Russolo s Intonarumori or noise intoners 1913 and subsequent experiments by dadaists surrealists the Situationist International and in Fluxus events and other Happenings Because of the diversity of sound art there is often debate about whether sound art falls within the domains of visual art or experimental music or both 3 Other artistic lineages from which sound art emerges are conceptual art minimalism site specific art sound poetry electro acoustic music spoken word avant garde poetry sound scenography 4 and experimental theatre 5 Contents 1 Origin of term 2 Sound installation 2 1 Sound structure in sound installations 3 Sound sculpture 3 1 Sound sculptures with Wikipedia articles 4 Gallery 5 See also 6 Notes 7 References 8 Further readingOrigin of term EditAccording to Bernhard Gal s research the first published use of the term was found in Something Else Press on the cover of their 1974 Yearbook 6 The first use as the title of an exhibition at a major museum was 1979 s Sound Art at the Museum of Modern Art in New York MoMA featuring Maggi Payne Connie Beckley and Julia Heyward 7 The curator Barbara London defined sound art as more closely allied to art than to music and are usually presented in the museum gallery or alternative space 8 Commenting on an exhibition called Sound Art at The Sculpture Center in New York City in 1984 art historian Don Goddard noted It may be that sound art adheres to curator Hellermann s perception that hearing is another form of seeing that sound has meaning only when its connection with an image is understood The conjunction of sound and image insists on the engagement of the viewer forcing participation in real space and concrete responsive thought rather than illusionary space and thought 9 Sound installation Edit Janet Cardiff s Forty Part Motet 2001 in the ARoS Aarhus Kunstmuseum Denmark Georges Lentz s 24 hour String Quartet s at the Cobar Sound Chapel 2022 with loudspeakers in the four walls Sound installation is an intermedia and time based art form It is an expansion of an art installation in the sense that it includes the sound element and therefore the time element 10 The main difference with a sound sculpture is that a sound installation has a three dimensional space and the axes with which the different sound objects are being organized are not exclusively internal to the work but also external citation needed A work of art is an installation only if it makes a dialog with the surrounding space citation needed A sound installation is usually site specific but sometimes it can be readapted to other spaces It can be made either in closed or open spaces and context is fundamental in determining how a sound installation will be aesthetically perceived citation needed The difference between a regular art installation and a sound installation is that the latter contains a time element which gives the visiting public the option to stay longer to explore the development of the sound over time citation needed This temporal factor also gives the audience an incentive to explore the space more thoroughly and investigate the disposition of the different sounds in space citation needed Sound installations sometimes use interactive art technology computers sensors mechanical and kinetic devices etc but they can also simply use sound sources placed at different points in space such as speakers or acoustic instrument materials such as piano strings played by a performer or by the public see Paul Panhuysen citation needed In the context of museums this combination of interactive technology and multi channel speaker distribution is sometimes referred to as sound scenography 11 Sound structure in sound installations Edit This section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Sound art news newspapers books scholar JSTOR August 2022 Learn how and when to remove this template message The simplest sound form is a repeating sound loop This is mostly used in Ambient music like art and in this case the sound is not the determinant factor of the art work The most used sound structure is the open form since the public can decide to experience a sound installation for just a few minutes or for a longer period of time This obliges the artist to construct a sound organization that is capable of working well in both cases There is also the possibility to have a linear sound structure where sound develops in the same way as in a musical composition Sound sculpture EditSound sculpture is an intermedia and time based art form in which sculpture or any kind of art object produces sound or the reverse in the sense that sound is manipulated in such a way as to create a sculptural as opposed to temporal form or mass Most often sound sculpture artists were primarily either visual artists or composers not having started out directly making sound sculpture 12 Cymatics and kinetic art have influenced sound sculpture Sound sculpture is sometimes site specific citation needed Sound Artist and Professor of Art at Claremont Graduate University Michael Brewster described his own works as Acoustic Sculptures as early as 1970 13 Grayson described sound sculpture in 1975 as the integration of visual form and beauty with magical musical sounds through participatory experience 14 Sound sculptures with Wikipedia articles Edit Blackpool High Tide Organ Gesundheit Radio Sea organ Singing Ringing Tree Panopticons A Sound Garden Golden Gate Bridge WindGallery Edit Harry Bertoia Textured Screen 1954 Panopticon The Singing Ringing Tree The Blackpool High Tide Organ The Cristal Baschet Yuri Landman Moodswinger 2006 2 electrocardiophones amp electroencephalophone Basic s sea organSee also EditList of sound art organizations and festivals List of sound artists List of topics related to Sound Art Acousmonium Acoustic ecology Work of art Audium Cassette culture Electronic music Fluxus Installation art Intermedia NIME Noise music Odonien Performance art Radio art Sonification Sound effect Sound poetry Soundscape Video game music Visual music Sound mapNotes Edit Szendy Peter Listen A History of Our Ears Fordham University Press pp 5 8 LaBelle Brandon 2006 Background Noise Perspectives on Sound Art London and New York Continuum p ix ISBN 9780826418449 Goldsmith Kenneth Duchamp Is My Lawyer The Polemics Pragmatics and Poetics of UbuWeb Columbia University Press New York p 125 Bruckner Atelier 2010 Scenography Szenografie Making spaces talk Narrative Raume Stuttgart avedition p 209 Kenneth Goldsmith Duchamp Is My Lawyer The Polemics Pragmatics and Poetics of UbuWeb Columbia University Press New York p 136 Gal Bernhard December 1 2017 Updating the History of Sound Art Additions Clarifications More Questions Leonardo Music Journal 27 78 81 doi 10 1162 LMJ a 01023 S2CID 57559930 Dunaway Judy May 7 2020 The Forgotten 1979 MoMA Sound Art Exhibition Resonance 1 25 46 doi 10 1525 res 2020 1 1 25 Museum of Modern Art Museum exhibition features works incorporating sound press release no 42 for Sound Art exhibition 25 June 5 August 1979 No Exh 1266 MoMA Archives Hellerman William and Don Goddard 1983 Catalogue for Sound Art at The Sculpture Center New York City May 1 30 1984 and BACA DCC Gallery June 1 30 1984 page needed Ouzounian Gascia 2008 Sound art and spatial practices situating sound installation art since 1958 San Diego UC Bruckner Atelier 2010 Scenography Szenografie Making spaces talk Narrative Raume Stuttgart avedition p 209 Fontana Bill 2008 The Relocation of Ambient Sound Urban Sound Sculpture Leonardo 41 2 154 158 ISSN 0024 094X Claremont Graduate University mourns loss of longtime art Professor Michael Brewster Claremont Graduate University 23 June 2016 Retrieved 26 September 2021 Grayson John 1975 Sound sculpture a collection of essays by artists surveying the techniques applications and future directions of sound sculpture A R C Publications p V ISBN 0 88985 000 3 References EditKenneth Goldsmith Duchamp Is My Lawyer The Polemics Pragmatics and Poetics of UbuWeb Columbia University Press New York Kahn Douglas 2001 Noise Water Meat A History of Sound in the Arts Cambridge MIT Press ISBN 0 262 61172 4 Licht Alan 2007 Sound Art Beyond Music Between Categories with accompanying compact disc recording New York Rizzoli International Publications ISBN 0 8478 2969 3 Peter Szendy 2008 Listen A History of Our Ears Fordham University Press Brandon LaBelle 2006 Background Noise Perspectives on Sound Art London amp New York Continuum ISBN 9780826418449 Further reading EditAttali Jacques 1985 Noise The Political Economy of Music translated by Brian Massumi foreword by Fredric Jameson afterword by Susan McClary Minneapolis University of Minnesota Press ISBN 0 8166 1286 2 cloth ISBN 0 8166 1287 0 pbk Bandt Ros 2001 Sound Sculpture Intersections in Sound and Sculpture in Australian Artworks Sydney Craftsman House ISBN 1 877004 02 2 Cage John 1961 Silence Lectures and Writings Middletown CT Wesleyan University Press Paperback reprint edition 1973 ISBN 0 8195 6028 6 Cox Christoph 2003 Return to Form Christoph Cox on Neo modernist Sound Art Sound Column Artforum November pages Cox Christoph 2009 Sound Art and the Sonic Unconscious Organised Sound 14 no 1 19 26 Cox Christoph 2011 Beyond Representation and Signification Toward a Sonic Materialism Journal of Visual Culture 10 no 2 145 161 Cox Christoph and Daniel Warner eds 2004 Audio Culture Readings in Modern Music New York Continuum ISBN 0 8264 1615 2 Drobnick Jim ed 2004 Aural Cultures Toronto YYZ Books Banff Walter Phillips Gallery Editions ISBN 0 920397 80 8 Groth Sanne Krogh and Holger Schulze eds 2020 The Bloomsbury Handbook of Sound Art New York Bloomsbury ISBN 978 1 5013 3879 3 Hegarty Paul 2007 Noise Music A History New York Continuum International Publishing Group ISBN 978 0 8264 1726 8 hardcover ISBN 978 0 8264 1727 5 pbk Jensenius Alexander Refsum Lyons Michael eds 2017 A NIME Reader Fifteen Years of New Interfaces for Musical Expression Springer ISBN 978 3 319 47214 0 Kim Cohen Seth 2009 In the Blink of an Ear Toward a Non Cochlear Sonic Art New York Continuum ISBN 978 0 8264 2971 1 LaBelle Brandon 2006 Background Noise Perspectives on Sound Art New York and London The Continuum International Publishing Group ISBN 0 8264 1844 9 cloth ISBN 0 8264 1845 7 pbk Lander Dan and Micah Lexier eds 1990 Sound by Artists Toronto Art Metropole Walter Phillips Gallery Lucier Alvin and Douglas Simon 1980 Chambers Middletown Connecticut Wesleyan University Press ISBN 0 8195 5042 6 Nechvatal Joseph 2000 Towards a Sound Ecstatic Electronica The Thing Oliveros Pauline 1984 Software for People Baltimore Smith Publications ISBN 0 914162 59 4 cloth ISBN 0 914162 60 8 pbk Paik Nam June 1963 Post Music Manifesto Videa N Videology Syracuse New York Everson Museum of Art Peer Rene van 1993 Interviews with Sound Artists Eindhoven Het Apollohuis Rogers Holly 2013 Sounding the Gallery Video and the Rise of Art Music Oxford Oxford University Press Schaefer Janek Bryan Biggs Christoph Cox and Sara Jayne Parsons 2012 Janek Schaefer Sound Art A Retrospective Liverpool The Bluecoat ISBN 978 0 9538896 8 6 Schafer R Murray 1977 The Soundscape Rochester Vermont Destiny Books ISBN 0 89281 455 1 Schulz Berndt ed 2002 Resonanzen Aspekte der Klangkunst Heidelberg Kehrer ISBN 3 933257 86 7 Parallel text in German and English Skene Cameron 2007 Sonic Boom The Montreal Gazette 13 January Toop David 2004 Haunted Weather Music Silence and Memory London Serpent s Tail ISBN 1 85242 812 0 cloth ISBN 1 85242 789 2 pbk Valbonesi Ilari A A A A A A A Cercasi Sound Art ARTE E CRITICA ISSUE 64 2010 Wilson Dan 2011 Sonics in the Wildernesses A Justification The Brooklyn Rail April Wishart Trevor 1996 On Sonic Art new and revised edition edited by Simon Emmerson with accompanying compact disc recording Contemporary Music Studies 12 Amsterdam Harwood Academic Publishers ISBN 3 7186 5846 1 cloth ISBN 3 7186 5847 X pbk ISBN 3 7186 5848 8 CD recording Retrieved from https en wikipedia org w index php title Sound art amp oldid 1139399173, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.