My friend Chris got some great NYT facetime with this article about his zany intermissions project. Some of the listening is really interesting, and the concept is a riot. Chris is someone that has a very unique relationship to sound, and I love him for it. The only thing weird about the article is that they put "sound-artist" in quotes as though that is a term which is either from another language or just not acceptable yet. Good job Chris, if anybody could get the word sound-artist in the Times you could. (Though usually you say Phonographer no?)
I came across these quotes that are relevant to Chris' work today:
"The musician, once outside the rules of harmony tries to understand and master the laws of acoustics in order to make them the mode of production of a new sound matter. Liberated from the constraints of the old codes, his discourse become non-localisable. Pulveriser of the past, he displays all of the characteristics of the technocracy..." (Jacques Attali)
"...In other words, digital freedom comes with a price attached: confusion gets disseminated from the fringes as much as from power centres. It therefore becomes the task of acoustic engineers to make a humanised noise, to wrestle the new tools into a language usable and accessible by the listener." (Rob Young from Worship the Glitch)
Audio Clips From “Music Before and Between Beethoven, Stravinsky, Holst”
“After Beethoven” (mp3) “SF Variations” (mp3)
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