----------empyre- soft-skinned space----------------------
hi Jim and others,
I wanted to comment on this:
" At a recent conference in London, I heard David Toop suggest that curating a
group sound art exhibition was "impossible" given the inevitable sonic conflict
between the exhibited works. Such a claim, on its face, seems rather
provocative. What are some strategies that curators or artists might employ to
overcome the obvious challenges Toop is alluding to?"
My friend Diane Leboeuf does sound installations for museums that involve doing
separate installations for different parts of the exhibit, and making them fit
together sonically. This is perhaps easier for her to do because as the sole
maker, she can avoid conflict between the different parts of the exhibits. When
different people are making pieces, it is more of a challenge. But what would
happen if a curator approached a number of sound artists and asked them to make
works that would NOT conflict with each other, that would collaborate sonically
in creating an integrated exhibition, with elements by different people, but
where the people would attempt to make the works fit together, by choosing
different frequency ranges, sound placement and timbral characters? It would
certainly be a different approach to sound ecology, to ask the makers to work
in concert rather than in conflict?
Andra
On 2014-06-16, at 9:28 AM, Jim Drobnick wrote:
> At a recent conference in London, I heard David Toop suggest that curating a
> group sound art exhibition was "impossible" given the inevitable sonic
> conflict between the exhibited works. Such a claim, on its face, seems rather
> provocative. What are some strategies that curators or artists might employ
> to overcome the obvious challenges Toop is alluding to?
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