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RE: [microsound] visual artists



I'm also more of a lurker on this list but I'm an avid
follower of experimental music, spec locally here in
the Bay Area and produce spound works myself. I
actually came to this from my work in filmmaking.
Specifically, in film I was interested in working
deeply with abstraction and duration (as opposed to,
say, narrative, depiction, human subjects, etc.). I
was actively making soundtracks for these films but
have kind of recently gotten more into the soundtracks
on their own (kind of dropping the visual part). It's
more firld recording/ tape music type stuff but there
you go.

It's funny cuz when the question of how many
microsounders "program", I immediately thought this
referred to curating: I manage and curate for a
non-prof which produces weekly programs of
experimental film and video (San Francisco
Cinematheque). In this area--film curation--I've been
gravitating to artists working in areas in which
film/video intersect with sound/music. I'm very
excited, for example, about a program of Stan
Brakhage's sound films I pulled together which will be
screening next week (folks in the area should come
by--see www.sfcinematheque.org).

Anyway, I'll end this pr effort by saying that I'd be
interested in hearing about film/video works members
of this list might be engaging in. Off list is fine
unless you feel like involving everyoine else...

steve polta


--- Christopher Sorg <msglists@xxxxxxxxxxxxx> wrote:

> Hey, all.
> I've been more of a .microsound lurker lately, but
> I, too, have a BFA & MFA
> in Painting. I've always been involved in music, and
> have traditional
> training in vocal, piano, and trombone. I personally
> use composition and
> audio "tinkering" to take a break from my visual
> work, keeping the creative
> juices flowing while my subconscious processes
> whatever challenges I have in
> the studio. I do tend to keep many of the issues in
> painting and sound
> separate. I suppose that is a function of how I use
> sound more to "play"
> when I need a break, and partially because I like to
> deal with visuals and
> sound at the most fundamental, formal, abstract
> levels. That seems to
> eliminate a lot of the arbitrary connections made
> between the two forms. 
> 
> There are a few artists whom I have come to
> appreciate, such as Morton
> Feldman and Trevor Wishart, for their very specific
> relationships between
> sound and visuals that move beyond the more common
> synthesthetic discourse.
> Having started out quite early with an interest in
> Kandinsky, Scriabin, and
> the like, the more subjective approach to synthesia
> just isn't as
> interesting to me any more. I personally find that
> the more concrete
> linguistic connections between sound and image, and
> the formal discourse
> that attempts to capture each of the structures are
> far more complex,
> interesting. For me, the flow goes back and forth,
> and much of my visual
> work does incorporate sound and language. I've also
> been fortunate enough to
> be able to go out and perform sound material when I
> choose, so playing with
> sound has become a succesful part of my creative
> practice.
> 
> I should say that the experimental sound community,
> especially the
> .microsound list, has been an enlightening and
> encouraging group to be
> involved with. I have found opportunities here, and
> it's kept me going at
> times when other aspects of my practice were
> frustrating.  Just knowing that
> you're all out there thinking and experimenting
> offers great comfort. Sorry
> I haven't had as much time to contribute lately,
> but, anyway, thanks to you
> all!
> __________________________________________
> Christopher Sorg
> Multimedia Artist and Instructor
> The School of the Art Institute of Chicago
> Columbia College Chicago
> http://www.chrissorg.com
> 
> 
>
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