Skip to end of metadata
Go to start of metadata



This exhibit is best received through tight headphones-perhaps audio fragments will then sound familiar and you will stop wondering why memory failed you when trying to find out what Mary said about John. This is a collection of pieces that dwell into the obsessive world of audio surveillance: eavesdropping*. These works are an exploration of the nature of the practice and the ways in which we choose to store this secretly gathered information. The artists probe into the nature of the biological processes of memory thus creating such thorough storage methods as algorithms. Several chose to render this audio in an updated version. They either included fragments from prerecordings, such as movie clips, or remixed in other ready made sound, perhaps as commentary on the nature of our sound memory and its susceptability to change with time. The art work to which this exhibit is dedicated and appropriated after, MTAA's TO BE LISTENED TO, is a celebration of available audio and truly encourages the listeners to engage with the audio. Ultimately what we care about is listening in: listening in on them, on the willful participants, on you listening to them now, on me wanting to listen in on it.

(Eavesdropping: Secretly gaining unauthorized access to confidential communications. Examples include listening to radio transmissions or using laser interferometers to reconstitute conversations by reflecting laser beams off windows that are vibrating in synchrony to the sound in the room. See wiretapping)

LIVINGWALL-This installation records fragments of human interaction from within the gallery. As it picks them up, it analyzes and associates them based on similar qualities to ultimately create a sound map. LCD screens on the walls exhibit the networks created, the sound maps and playback these sonic memories according to the designated position as triggered by the listeners/participants. The work is constantly refreshed and the maps increase exponentially.

The Sense of Another Dimension-Recorded and remixed fragments of conversation from the Whitney Biennial. The artist includes about 20 hours of conversation from the Whitney but also mixes in sounds from her ride to and from the Biennial. As she states it, this work is an attempt to blur institutional boundaries and criticize art commentary. Ultimately she reinstates these fragments into ringtones-thereby allowing for instant, unexpected and widely available playback at the tip of your finger.

Living in Arcadia-SOUNDWhatever insight I have gained into this art work is second-hand knowledge because of the language barrier that is presented by the all-German recordings. The artist's audio describes Postdam, as I have deduced from what other listeners told me, to the utmost detail. He makes the viewer more acutely aware of his urban environment.All three of his recordings target these curiously aware listeners and in their high quality and selective audio offer a better version of the radio as described by the authors-the podcast. The artist is reaching ou to you right now because he so desiresa and you are the designated target.

Soft Jaws - A site-specific installation that blends in the recorded sounds of the movie Jaws and recorded underwater ambient sounds. Surprisingly the audio fragments extracted from movie Jaws are the atypical funny clips thus making it, along with the spontaneous ambient underwater sounds, a very playful piece. It is best listened to while floating or submerged in the water.

To be Listened To...A truly remarkable assorment of audio, the ambitious goal of this art work is to allow for a space where any sort of 'experimental' audio is welcome. Currently there are 10 recordings available but the artists encourage the listener to remix, albeit according to certain guidelines, the audio available.Perhaps a more commercial and accessible version of sound entertainment this work prompts participation rather that unwillful surveilling. As a viewer you are still getting insight into other people's minds as much as you do with the other works, yet herein there is more consent. As a celebration of what is best in audio here is to T. Whid and MTAA.

Enter labels to add to this page:
Please wait 
Looking for a label? Just start typing.