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?
On 7 Aug 2017, at 02:21, Mark Toscano <mrkt...@gmail.com> 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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