Albert, Thanks for all the references. I’ll definitely look for Melissa Ragona’s book. I saw the Sharits film many many times, and would always have delirious acoustic hallucinations 2/3 of the way through. Probably why I kept going back, no?
On May 16, 2016, at 4:10 PM, Albert Alcoz <albertal...@gmail.com> wrote: > Hello again, > > Some weeks ago Adrian Martin shared a link on Facebook with some audiovisual > essays related to sound. They are not specifically Avant-Garde Film though: > http://www.thecine-files.com/turning-up-the-volume/ > > Hacked Circuit by Deborah Stratman is a good work about sound effects: > http://www.pythagorasfilm.com/hacked-circuit.html > > Maybe Arthur Lipsett works are could be considered "deep sound design" films. > They are collage sound works, as those created by Abigail Child years later. > > ¿Robert, have you ever heard S:STREAM:S:S:SECTION:S:S:ECTION:S:S:ECTIONED > (1971) by Paul Sharits? He wrote about his film as a "word sound orgy". > > I thought the same as you about Invocation of My Demon Brother. There are > dozens of avant-garde films where the soundtrack is just music. Some other > examples: Crossroads by Bruce Conner and Corridor by Standish Lawder, both of > them with compositions by Terry Riley. > > Melissa Ragona is working on a book named: From Radio-Ear to Granular Voice: > The Sound of Experimental Film. Maybe that study will solve some of this > issues. > > Albert Alcoz > -- > http://visionaryfilm.net/ > http://albertalcoz.com/ > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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