Re: [-empyre-] boundaries, or not

[<keith@blacknetart.com>]

hi all.
 I'm very interested in this notion of disciplinary
boundaries produced by the Academy. Like a lot of
artists who make experimental sounds I spent a lot of
time making recordings and sound installations in a
traditional sculpture/painting program. My study of
art was after making hip-hop professionally for many
years. When I decided what kind of MFA to pursue I
chose a sound design program in a theater school. It
was refreshing for me to be introduced a sound making
community that does not seem particularly stifled by
the kind of binaries that plague many academic music
and art programs. Many of the sound designers/artists
that I've encountered working in theater seem to
freely absorb a myriad of critical listening and sound
making models. I do however miss the attention that is
given to critical theory in many sound art circles. I
wonder if the guest could talk a bit about their
participation in different but perhaps intersecting
sound making communities and how these intersections
affect their practice.

Best,

Keith Obadike


--- Alan Sondheim <sondheim@panix.com> wrote:
> 
> 
> It's also the case with teaching; I was at Florida
> International
> University for a year - before they terminated the
> 'new media line' - and
> it was a horror show. There were only two computers,
> neither online, and
> one low-consumer end camcorder. The studio was on a
> flood plain, and when
> I arrived, there was only an unfinished concrete
> floor and tin ceiling and
> no workable air-conditioning, in Miami. Eventually
> everything blew and I
> was out. They continue to pretend they have a
> program, as far as I know.
> 
> Alan
> 
> http://www.asondheim.org/
> http://www.asondheim.org/portal/
> http://www.anu.edu.au/english/internet_txt
> Trace projects
> http://trace.ntu.ac.uk/writers/sondheim/index.htm
> finger sondheim@panix.com
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