Issue

3.13 / The Sound Issue

April 19 2012

Introduction

April 19, 2012. From the earliest days of sound art, artists and experimental musicians discovered in the genre a medium that is inclusive, participatory, disruptive, and that could embody their political goals. Today, the Bay Area’s technological reign has established San Francisco as a destination for sound artists seeking to advance their practices through the genesis of new mediums. They explore sound’s capacity to conflate sensory experience; sounds are both aural and physical, producing reverberations that register in our ears and bodies and that locate or disorient us in space. How do they respond to different contexts and juxtapose with other artistic forms? This thematic issue of Art Practical delves into the Bay Area’s rich history and attempts to probe the very essence of sound as well as the hybrid practices of contemporary sound artists. Enjoy—TT

Features

The Sound Issue: Introduction

The Sound Issue: Introduction

By Tess Thackara

For Paul Kos, whose work is discussed by Tom Marioni in a roundtable discussion, sound could occupy a conceptual realm; in his Sound of Ice Melting (1970), viewers strained to hear the sound of ice melting in what could only have been a tangible silence.

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Interview with Paul DeMarinis

Interview with Paul DeMarinis

By Renny Pritikin

I am often pegged as a sound artist, although those who consider themselves sound artists will hardly admit me to their fold. I just don’t care about sound in the same way they do, although I do care very much about the way it connects things together—objects, mental states, sensory attentiveness.

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Hearing with Your Body: Infrasound

Hearing with Your Body: Infrasound

By Matt Sussman

Crossing to the other side of the room is more like swimming than walking. With every step I am more conscious of my body and the invisible particles brushing against and off of it, their paths tracing and re-tracing the surfaces of every other body and object within the room.

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Interview with Jacqueline Gordon

Interview with Jacqueline Gordon

By Ellen Tani

My first sound piece was a blanket, but it was this twenty-channel, cassette-tape-looped, sculpture thing called Dream Blankets that you could also enter. So I came at it by building this environment that I wanted to experience.

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Sonic Infrastructure

Sonic Infrastructure

By Marc Weidenbaum

There’s an interesting distinction, though—San Francisco is expanding from being a sonic-arts center to being a sonic-arts-infrastructure center. Mills and CCRMA routinely produce graduates who carry elsewhere the cultural DNA of the Bay Area’s indigenous sound explorations.

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Collation & Synthesis: Unifying Fields of Cultural Production

Collation & Synthesis: Unifying Fields of Cultural Production

By Aaron Harbour

Curators, artists, DJs, and other cultural producers perceive their fields to have central points of focus and margins that blur almost seamlessly with each other. Alternatively, there is a direct topographic correlation underlying these conceptual analogies; with a little jostling, what appear to be widely variant creative activities are revealed to be commensurate at a root level.

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Profile: Ethan Rose

Profile: Ethan Rose

By Bean Gilsdorf

From recorded albums to live performances, solo work to collaborations, and fine art to film soundtracks, Ethan Rose works with both sonic and visual art within a practice that is elastic, adaptable, and explorative. As evidenced in his diverse projects, Rose is keenly aware of the evocative power of sound used in conjunction with visual stimuli to create an integrated, evocative whole.

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Conversation about Invisible Relics

Conversation about Invisible Relics

By Art Practical Editors

I’m always trying to process the visual and the auditory together, as we all do. It’s like two different soundtracks or audio tracks—these two things that happen in unison—and they don’t match, but we force them to match.

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