“But nobody knows anything about sound-how you hang a speaker, how you EQ it to the room. There isn’t that kind of knowledge or expertise in the museum world. …there are still a lot of changes that need to happen before the art world is ready to present sound as art. And, you know, it doesn’t matter because there are so many ways for people to enjoy sound these days. Sound is so easily diffused, spread around through the internet….Everything is so portable and easy to share that you don’t need an art institution to tell you what to listen to. I think it is in sound’s nature to be free and uncontrollable and to go through the cracks and to go places where it’s not supposed to go.” –Christian Marclay Pg. 11
Stephan von Heune
-On John Cage:
“Cage himself redefined music as ‘an organsation of sound’ rather than a composition of melody and harmony, but what is more important is his contention that music is every-where, in all sounds – that all sound can be music. His statement can be taken two ways – that all sounds can be listened to as music or that they can be used as musical material by composeres.” Pg. 12
“Sound art has also been applied retroactively to noise music, sampling, and various forms of musical collage…. Although noise in particular may come under the heading of “sound by artist” given the tradition of noise-making by the Dadaists as an extension of their visual and literary activities.” Pg. 12 as well as 13
“The sense of hearing cannot be turned off at will. There are no earlids” –R. Murray Schafer
“Music and painting have always existed side by side, but it is with the deconstruction of painting into formal elements in the early twentieth century that makes possible the breakdown of music into pure sound.” Pg. 135
“The composer’s surface is an illusion into which he puts something real – sound. The painter’s surface is something real from which he then creates an illusion…A music that has a surface constructs with time. A music that doesn’t have a surface submits to time and becomes a rhythmic progression” -Brian O’Doherty Pg. 136
“In some ways sound sculpture, which is not instrument-making but sculpture that is made with an inherent sound-producing facility in mind or a machine made for the same purpose, is the oldest form of sound art.” Pg. 199
So, in this statement sound sculpture is one form of sound art in which sound is drawn out of unassuming objects or playing things differently that usual to create texture. This started in the mid ’50s with Jean Tinguely and Harry Bertoia. Objects included motor, sound machines playing electric guitars rather than a human, vibrating saws and loudspeakers reacting to an acoustic space.
Sound in Film:
“What Dolby does is give you the ability to create a density of detail of sound-a rishness so you can demolish the wall separating the the viewer from the film. You can come close to demolishing the screen.” – Michaels Cimino Pg. 209
“Film could operate in the gap between art and life” Pg. 209
Walter Murch – First person to be credited as a film sound designer in The Conversation.