This week I participated in the Music & Silence workshop convened by the Science Museum and Nottingham University at the Royal College of Music. As part of the workshop, I was asked to respond to the previous events of the day. During my response, I played a recording I had made that morning of 4’33” of the sound inside the anechoic chamber that we visited at London South Bank University; I also composed the following poem in response to a live reading performance by Salomé Voegelin and Daniela Cascella. They read a series of text fragments from various sources they had strewn on the ground before them. My poem is made up of quotations of their improvised reading selections, in the reverse order of which they were heard during the reading. Fragments of fragments – an echoing. Continue reading
I’m currently researching and writing an article, tentatively entitled Towards a Museum of Sound, wherein I will lay out a proposal for a major public institution whose mission is to collect and interpret sound and sound-related objects.
This second post eliminates an intermediate draft that did little to re-think the project. This third draft almost entirely re-organizes the displays in the permanent galleries, splitting the subject matter up into themed rooms which would build on each other if visited in the order presented here. A tour of the permanent galleries would culminate in a visit to a silent anechoic chamber, which would help visitors realize just how much sound influences their daily life experience. Continue reading
I’m currently researching and writing an article, tentatively entitled Towards a Museum of Sound, wherein I will lay out a proposal for a major public institution whose mission is to collect and interpret sound and sound-related objects. I’m hoping to use Phonomnesis as a place to keep track of some of my research and try out rough drafts of bits of the article.
This first post simply contains my initial draft outline for what such an institution might, or should, contain in terms of subject matter and facilities. Continue reading
Many young artists, particularly those embroiled within an MFA program, struggle to defend their art making decisions. If their decision can’t be backed up with a snippet of Deleuze, a paragraph of Baudrillard, or a chapter of Benjamin, they feel, it has no meaning. Many artists drown themselves in theory, using it as the sole inspiration for work that signifies the signifier of art theory, bouncing around an echo chamber of ideas that, regardless of how well-intentioned those ideas may be, are more than likely obscure if not downright irrelevant to a large portion of their work’s audience. Continue reading