[-empyre-] start of week 3

[Salomé Voegelin]

> It's interesting that noone has yet to mention curating sound art online
> where many of these bleed problems are naturally contained.  

I am very interested in the context of work online, less as a parallel gallery opportunity and more as a radiophonic environment off schedule. I have tried to do something in that way myself (http://clickanywhere.crisap.org/) but feel that the visual pull of the net, our staring into its virtual space, makes it important the the environment the sound work is embedded in is well designed and carefully considered in relation to the sound so we get seduced to listen rather than focus on what is not there. 

> I actually found the bleed to be fascinating
> and energizing, as if to suggest that the energy and volume of these
> radical performance events 

I also do not find the bleed the main problem of curating sound, and would not go on-line to avoid it. the very opposite: the overlaps and spillages are the audio-visual context the sound work is performed in, just like the architecture of the space, color of the walls, or the lighting arrangement, they form not a distraction but the focus of listening and could be exploited and used in designing the presentation/performance rather than avoided. 


On Jun 17, 2014, at 2:37 PM, Timothy Conway Murray <tcm1 at cornell.edu> wrote:

> ----------empyre- soft-skinned space----------------------
> Thanks everyone for such stimulating posts.  I enjoyed an exhibition in
> Taiwan this spring on the history of sound art in Taiwan from martial law
> onward: "ALTERing NATIVism: Sound Cultures in Post-War Taiwan" at the Cube
> Project Space.  This included footage of very loud rave events that bled
> into other rooms and pieces.  I actually found the bleed to be fascinating
> and energizing, as if to suggest that the energy and volume of these
> radical performance events (just after the lifting of martial
> law)connected with and resounded through the related sound art projects in
> Taiwan.
> 
> It's interesting that noone has yet to mention curating sound art online
> where many of these bleed problems are naturally contained.  You might be
> interested in an exhibition that I did with Arthur and Marilouise Kroker
> for our collaborative project, CTHEORY Multimedia, called NetNoise:
> http://ctheorymultimedia.cornell.edu/four.php  Although the pieces don't
> bleed into each other, they will continue to resonate in the background if
> users don't close their browser (a little trick we played on more naïve
> users of a decade agoŠ).
> 
> Best,
> 
> Tim
> 
> Timothy Murray
> Professor of Comparative Literature and English
> Director, Society for the Humanities
> http://www.arts.cornell.edu/sochum/
> Curator, Rose Goldsen Archive of New Media
> http://goldsen.library.cornell.edu
> A D White House
> Cornell University,
> Ithaca, New York 14853
> 
> 
> 
> 
> 
> On 6/16/14 2:44 PM, "Andra McCartney" <andrasound at gmail.com> wrote:
> 
>> ----------empyre- soft-skinned space----------------------
> 
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