>from Boris:<br>>Is it the same thing to tag over someone's wall piece as hiding a
speaker on stage before a performance and using it to interrupt the flow
of the concert once it has begun?<br><br>To me this connects with the segment of the movie where Banksy plants the guantanamo bay dummy in Disneyland--the idea of infiltrating a very protected space/environment and adding something to it which stands out, makes a statement, whatever. I could see this being very interesting/provocative happening in a symphony concert in a sort of stuffy concert hall, or also at a rock concert--seems that a planted speaker could be easy to hide somewhere in the large stacks at a rock venue, though access would be the issue. At the symphony, ???? <br>
<br><div class="gmail_quote">On Thu, Feb 17, 2011 at 1:07 AM, Boris Klompus <span dir="ltr"><<a href="mailto:boris.klompus@gmail.com">boris.klompus@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">
What separates the work of a street artist/graffiti writer from other visual artists? Is it the placement, the risk in doing it, the message? Speaking of which, what is the message -- is it disruption, thus vandalism, is it just for fun or notoriety? Is it just a matter of breaking out of the schmoozy art world, and letting one's art out there for others to see, or ignore, or etc, rather than proving your worth with grants, CV's and etc in order to get a chance to hang some art up on the walls of a predescribed gallery? The audio equivalent to acting out based on such questions, would depend on how one answers them. <br>
<br>Is it the same thing to tag over someone's wall piece as hiding a speaker on stage before a performance and using it to interrupt the flow of the concert once it has begun?<br><br>And what are you going for, startling people, and with it seeing their reactions, making people think about things in a different way, taking what is normally a mundane moment (potentially) in someone's day and pulling them out briefly? <br>
<br>There are plenty of things that make noise already, for instance the pre-recorded lady voice telling my to watch my step on the escalator. Changing the recording that gets played back through those speakers, that one is so desensitized to hearing, could be much more startling than placing a new sound making source in the environment and adding an extra level of sound. It's like the taxis in Mumbai that Hans mentioned.<div>
<div></div><div class="h5"><br>
<br>On Wed, Feb 16, 2011 at 6:38 PM, hans w. koch <span dir="ltr"><<a href="mailto:kochhw@netcologne.de" target="_blank">kochhw@netcologne.de</a>></span> wrote:<br><div class="gmail_quote"><blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">
actually, you are of course right, about noise pollution in cities.<br>
thats why i choose a spot for the installation, which was not easily accessible.<br>
mostly people from the neighbouring residential area would use the traffic island for a stop while crossing the road to the opposite park, when going to walk their dogs.<br>
i even bought the trashscan to mount it there myself.<br>
(and it wasnīt playing continously, only when somebody threw something in)<br>
<br>
but i would also consider, that there are different types of noise pollution. i was in mumbai 2 years ago, where basically everybody is driving by ear, constantly honking.<br>
it is loud, but after a couple of days, it fades into background, except of the modern cars, which have a horns especially developped to surpass the prevalent horns of the old taxis.<br>
high pitched, ultraloud, absolutely killing. it happended to me a couple of times sitting in a moto-rickshaw, that suddenly a new car would pull up on my side and i didnīt cover my ears fast enough and was suffering long after.<br>
the old horns on the other hand, i learned to hear as a kind of spacial composition, made of hundreds of grains of honking.<br>
<div><br>
hans<br>
<a href="http://www.hans-w-koch.net" target="_blank">www.hans-w-koch.net</a><br>
<br>
<br>
<br>
<br>
<br>
</div>Am 16.02.2011 um 18:31 schrieb <a href="mailto:microsound-request@or8.net" target="_blank">microsound-request@or8.net</a>:<br>
<br>
> Message: 4<br>
> Date: Wed, 16 Feb 2011 11:07:12 -0600<br>
> From: David Powers <<a href="mailto:cyborgk@gmail.com" target="_blank">cyborgk@gmail.com</a>><br>
> To: <a href="mailto:microsound@microsound.org" target="_blank">microsound@microsound.org</a><br>
<div>> Subject: Re: [microsound] Exit Through the Gift Shop<br>
> Message-ID:<br>
</div>> <AANLkTin_iuD0o3jfhyskrGgJTiVcOsnF=<a href="mailto:PkJCsftxZYM@mail.gmail.com" target="_blank">PkJCsftxZYM@mail.gmail.com</a>><br>
> Content-Type: text/plain; charset=windows-1252<br>
<div>><br>
> A little food for thought:<br>
><br>
> Do we not suffer from too much noise in our cities already? At least<br>
> in Chicago, I am subjected to large amounts of unwanted noise, whether<br>
> it is the dangerously loud sound of elevated trains, or the unwanted<br>
> (and almosty always terrible) background music that plays incessantly<br>
> indoors everywhere one goes.<br>
><br>
> So I suggest that the ultimate sonic intervention would not create<br>
> noise, but SUBTRACT noise--creating an unexpected pocket of silence in<br>
> the midst of the city would be fantastic, in my opinion.<br>
><br>
> ~David<br>
<br>
</div><div><div></div><div>_______________________________________________<br>
microsound mailing list<br>
<a href="mailto:microsound@microsound.org" target="_blank">microsound@microsound.org</a><br>
<a href="http://or8.net/mailman/listinfo/microsound" target="_blank">http://or8.net/mailman/listinfo/microsound</a><br>
</div></div></blockquote></div><br>
</div></div><br>_______________________________________________<br>
microsound mailing list<br>
<a href="mailto:microsound@microsound.org">microsound@microsound.org</a><br>
<a href="http://or8.net/mailman/listinfo/microsound" target="_blank">http://or8.net/mailman/listinfo/microsound</a><br>
<br></blockquote></div><br><br clear="all"><br>-- <br><font face="verdana, sans-serif">Steven Ricks<br>Composer<br>Associate Professor, BYU School of Music<br>(801) 422-6115<br><a href="http://www.stevericks.com" target="_blank">www.stevericks.com</a></font><div>
<font face="verdana, sans-serif"><br></font><div><span style="border-collapse: collapse;"><font face="verdana, sans-serif">CD's<br>Mild Violence<br></font><a href="http://www.bridgerecords.com/catpage.php?call=9256" style="color: rgb(28, 81, 168);" target="_blank"><font face="verdana, sans-serif">http://www.bridgerecords.com/catpage.php?call=9256</font></a><font face="verdana, sans-serif"><br>
Extreme Measures<br></font><a href="http://www.albanyrecords.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=AR&Product_Code=TROY1217-18" style="color: rgb(28, 81, 168);" target="_blank"><font face="verdana, sans-serif">http://www.albanyrecords.com/Merchant2/merchant.mvc?Screen=PROD&Store_Code=AR&Product_Code=TROY1217-18</font></a><font face="verdana, sans-serif"><br>
Sonic Images<br></font><a href="http://www.capstonerecords.org/CPS-8712.html" style="color: rgb(28, 81, 168);" target="_blank"><font face="verdana, sans-serif">http://www.capstonerecords.org/CPS-8712.html</font></a></span></div>
</div><br>