Watching people walking by Marco Fusinato’s drawings and taking pictures of them with lenses as small as a tooth and as large as a 24 oz can of beer, and then also taking time to take pictures of the wall text, and then stepping back and seeing that the flow of people never stops; unrelenting brigades of tourists and cognoscenti, armed with nikon olympus and iphone snapping click, click, click; it’s hard to hear over the echoes of the chatter and the works–the recordings of jana winderen, and the amplified spinning marble of richard garet–but you can hear quite clearly the snap click click and whir of focus in the sound dampened chamber that is haroon mirza‘s frame for a painting.
As I prepare my opening remarks for “Radio to Internet” – I can’t help but feel like I’m writing a post-script to the “Distribution” chapter of Sound Generation.
27 Things to be said about Sound Generation (in lieu of writing an introduction) October 10, 2005 1) Our Aim: Sound Generation aims to survey contemporary sound art practices, with special focus on the role of recording technology, the relationship of sound art to traditional artistic disciplines, and the political ramifications of artists’ processes.
Dear Ken, Our mutual friend Lary kicked off Sarah Halpern‘s new Counter Balance series at the reopened silent barn–a monthly series “dedicated to expanding the confines of the film screening to include writing, sound, theater and intermedia.” The theme of Counter Balance is “expanded cinema” but “structural cinema” would have been a better word for Lary’s screening, which began with a light bulb.
ps: Lea, I’ve been meaning to write to you about your performance at Death by Audio on November 8th.
from THE CINEMA AS A CONCERT HALL Alexis Bhagat & Lauren Rosati, 2011 — Formal Problem: A fundamental problem of “sound art” is that it is non-essential.