Thanks for this. 
Knowing what the sources are for the sound of Fire of Waters is particularly 
interesting for me as previously I did not know these facts although there had 
been much conjecture. My reference to it in my article  THUNDER & LIGHTNING 
Noise: Aesthetics and Audio-visual Avant-garde Practice in Goddard. et al. 
(Eds.). Reverberations: The Philosophy, Aesthetics and Politics of Noise  
(Continuum), described the sound as heard; likening the sound to external 
sources somewhat different to what they actually were. The troubling question 
that this raised is:  how does prior knowledge of what is being heard (and seen 
for that matter) affect the viewing-listiening experience of the film?

Best Wishes


On 7 Aug 2017, at 02:21, Mark Toscano <> wrote:

> Hi all,
> I realize it's kind of self-promotional, but since a halfway decent amount of 
> people seemed to like it, I hope you'll indulge me a bit of news about my 
> Preservation Insanity site. 
> Just wanted to spread the word that after a long period of inactivity, I've 
> moved, spiffed up, and begun posting again to the site, which is now here:
> For those who haven't checked it out before, I try to write periodically 
> about archiving, preservation, and experimental film, so if that's of 
> interest, please do give it a look!
> The most recent post is a somewhat epic one I finished today about the 
> soundtrack for Brakhage's film Fire of Waters, and the restoration questions 
> it poses, with a healthy dose of info about his sound filmmaking approaches 
> to boot.  
> And if you're on Instagram and interested, I've been posting more bite-sized 
> things for about a year now under the name preservationinsanity.  Again, feel 
> free to follow it if it's of interest!
> Thanks for indulging me -
> Mark T
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