By excellent I mean, complex, layered, inventive, of rich and nuanced timbre….excellent for it’s sonic qualities (*as opposed to strictly intellectual qualities*).
In experimental cinema It seems impossible to separate those things. Just consider- One of the best uses of sound in cinema is Kubelka's Arnulf Rainer and yet it seems the opposite of what the OP is looking for. 2016-05-16 15:45 GMT-04:00 <c...@termite.org>: > How about a lot of the work by the folks over at the Sensory Ethnography > Lab, especially those involving Ernst Karel? (Leviathan, Sweetgrass….) > > https://sel.fas.harvard.edu/index.html > > > > Carl > > > > > > > > *From:* robert harris [mailto:lagonab...@gmail.com] > *Sent:* Monday, May 16, 2016 1:43 PM > *To:* Experimental Film Discussion List <email@example.com> > *Subject:* Re: [Frameworks] Exemplary Sound Design in AG Film > > > > Thanks for the response Fred. Somewhere in in the recesses of my mind I > thought of you when posting the question, a. because for decades I’ve > respected your insights, and b., because one of your most memorable posts > contained your statement (at least this is how I remember it…) that > Beethoven’s *Grosse Fuge *is a definitive avant garde work. A smile > inducing and welcome statement in the context of Frameworks. > > > > As to anonymity, community and the internet, I prefer my community to > involve warm bodies sharing tangible space. Not to say the I don’t > appreciate Frameworks, I do. And it’s fascinating and heartening to know > that there are disembodied consciousnesses out there that profess to care > about something I believe I care about. But this is no fun to type about > abstractly. > > > > So, I’m Robert Harris. I live in greater Boston. I teach filmmaking > (actual 16mm bolex/arri filmmaking in addition to digital video that > everyone seems to think should be called film) at Fitchburg State > University in central Massachusetts. I used to be involved with Anthology > Film Archives Video Program in 70’s and 80’s. > > The program for which I’m planning a sound design component is the New > York State Summer School of the Arts. Its a program I’ve run for 25 years, > having inherited it from Gerald O’Grady. > > A few lurking frame workers have taught with me and/or been visiting > artists. Maybe even some former students out there. Tony Conrad taught in > the program under O’Grady. Sharits probably had a bit to do with the > program moving to my care. The program is for high school students. We > teach 16mm film, digital video, digital photo, computer animation, and > electronic sound. Watching healthy amounts of experimental film, from 16mm > prints, has always been an essential part of the program. > > > > So that’s that. > > I appreciate the suggestions that have been offered, though I’ve not yet > found what I’m hoping for in the preliminary samplings I’ve been able to > view and hear. > > So many works have music tracks, orchestral music, jazz, electronic music, > pop…sometimes with narration. Sometimes the music is great, sometimes it’s > lacking, but my search is for sound design that reaches farther or deeper > than sound track music. I enjoyed re-watching *The End* but it’s “just” > text and music. * Invocation of My Demon Brother *is “just” Mick > Jagger’s electronic noodlings on a MOOG. Robert Withers just posted that > Abigail Child’s work is worthy, and I agree. A title I didn’t mention > earlier is Robert Gardner’s *Forests of Bliss. *Deborah Stratman > frequently does great sound work. > > I’m just hopeful that I learn that there is more really rich stuff out > there. Sound is pretty wonderful. > > > > Robert Harris > > > > > > > > > > On May 15, 2016, at 9:10 PM, Fred Camper <f...@fredcamper.com> wrote: > > > > Why not tell us your name, location, and the name of the school? > > FraneWorks doesn't feel like much of a community anymore. Or maybe I'll > just never get used to Internet anonymity, fine on some sex advice board > but to me not right for a place like this. > > To be contrary, I'd suggest Christopher Maclaine's *The End* and *The Man > Who Invented Gold*. They are very great films, in my view but not in > everyone's, with great soundtracks that do not meet your criteria, but they > are not "strictly intellectual" either -- far from it. Made with minimal > means, they might seem amateurish to someone who hated them. > > Then there's my favorite Bruce Baillie sound track, the one for *Tung*. > But check into what i mean before renting the film. > > Fred Camper, Chicago > > On 5/15/2016 2:36 PM, lagonaboba wrote: > > For a class I’m preparing, I’m interested in suggestions as to > Experimental Films with exemplary, excellent sound design and sound > editing. > > By excellent I mean, complex, layered, inventive, of rich and nuanced > timbre….excellent for it’s sonic qualities (as opposed to strictly > intellectual qualities). > > As I plan to rent prints, it would be helpful if the works were available > from FMC, Canyon, MOMA or some USA domestic distributor. > > I would include: > > > > Baillie’s *Castro Street *&* Quick Billy, * > > Kubelka’s *Unsere Afrikareise, * > > Hindle’s *Watersmith* > > Jack Chambers’ *Hart of London* > > > > Thanks. > > > > > > > > > _______________________________________________ > > FrameWorks mailing list > > FrameWorks@jonasmekasfilms.com > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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