Sound art
-
244
Reflections by Tarab -Eamon Sprod- * Having read many of the posts on The Field Reporter recently which might go under the heading of “debate” (although I have not followed the “discussion” elsewhere not being a facebooker etc) I am…
-
243
Boombana echoes. AKIO SUZUKI, LAWRENCE ENGLISH (Winds Measure 2012) Review by Patrick Farmer In the august sense, to hear is always already to have heard: to take one’s place in the assembly of prior listeners and thus permit them once…
-
242
Sonidos del subconsciente I. ASFÉRICO -Alex Gámez- (Galaverna 2012) Review by Cheryl Tipp The accompanying notes for ‘Sonidos del Subconsciente I’ describe the work as “an imaginary soundtrack of a timeless, deep, dark, blurred and noisy world with millions of…
-
241
Systemic Collapse. JAY-DEA LOPEZ (Impulsive Habitat 2012) Review by Flavien Gillié Cet album de l’artiste australien Jay-Dea Lopez et paru sur le netlabel Impulsive Habitat nous donne à entendre une pièce de vingt minutes composée d’enregistrements de terrain recueillis vers…
-
240
Recordings of a crepuscular event. PHILIP SULIDAE (Impulsive Habitat 2012) Review by Daniel Crokaert What does one expect from the practice of “Field Recording”, a genre which seems to turn its back on the parameters of a musical industry based on…
-
239
Optical Sound Films 1971-2007. GUY SHERWIN (Lux 2007) Review by Jay-Dea Lopez Those of us working in the field of sound are aware of the hierarchy that places visual art above auditory-based art. Consequently there is often an opposition between…