Properties & Audiography

Four properties

1. SPATIAL IMMERSION – sound immersive / proximal in contrast to visual subject/object separation (Duchamp: “one can look at seeing; one can’t hear hearing”)

Max Neuhaus – Times Square (1980—present)

La Monte Young & Marian Zazeela—Dream House (ongoing)

La Monte Young’s Eternal Music (March 16, 1972) (radio special)

Brandon Labelle—Michael Asher and the Subject of Space

Alvin Lucier—Vespers (1969)

Alvin Lucier—I Am Sitting in a Room (original version) (1969)

Francis Ford Coppola—The Conversation (1973)

2. TEMPORAL FLUX -” Sounds support an ontology of events” (Cox)

Sonic process is compatible with an ontology not rooted in transcendental entities, but in immanent flux: for Karen Barad, relations precede relata; for philosopher of technics Gilbert Simondon, individuation happens through the appropriation of elements of a pre-individual fund which are then modulated and spun back out into the flux.

Elizabeth Grosz on Bergsonian Temporalities (Ch. 7 of The Nick of Time)

John Cage—Imaginary Landscape IV (1951)

Scanner—Scanner (s/t CD) (cell phone conversation appropriation) (1993)

Allan Kaprow—18 Happenings in Six Parts (1959)

Christoph Cox—Installing Duration: Time in the Sound Works of Max Neuhaus (includes a section critiquing Michael Fried’s Art and Objecthood)

Alvin Lucier—Music on a Long Thin Wire (1978) (excerpt)

Steve Reich—It’s Gonna Rain (1966)

3. SCHIZOPHONIA / CHRONOPORTATION (via technology / phono-graphy (sound+writing)

recording = medium for transformation / transmutation (ALCHEMY)

schizophonia: sound separated from the space/time of its production

chronoportation: time-travel

Luigi Russolo—compilation of early noise works

Orson Welles & Mercury Theater—The War of the Worlds (1938)

William S. Burroughs—Origin and Theory of the Tape Cut-Ups

William S. Burroughs—Silver Smoke of Dreams (1960s); MUCH more on ubuweb

Edison’s 10 uses for the phonograph

Pierre Schaeffer—5 Études de Bruits (1948)

Arthur Lipsett—Very Nice, Very Nice (1961)

Erik Satie—musique d’ameublement (furniture music) (1920) more here

John Cage—Empty Words (Parte III) (Milan, 1977); entire recording here


Serres: “Being-in-the-world never before heard the world. (FEEDBACK within FLUX)”

Also beyond the purely audible, involving also a transindividual vibrational continuum (Goodman).

Max Neuhaus—Public Supply (1966)

Electronic Voice Phenomena—The Ghost Orchid (CD compilation)

Christina Kubisch—Wellenfang (Wave Catcher) (excerpt)

Christina Kubisch—La ville magnétique

Dan Graham—Performer/Audience/Mirror (1975) (excerpt) and here


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