Hong-Kai Wang via The Museum of Modern Art

First aural exhibition at MoMA

“Soundings: A Contemporary Score,” is MoMA’s first dedicated exhibition to aural art, opens on Saturday, August 10, 2013 through November …

Aural Tradition

The history of sound art cuts across decades and disciplines, with many claims to significance but no canon yet established. Here are five important figures in the evolution not represented at the MoMA show. —Andy Battaglia Continue reading

never early. never late.

 

 

 

 

 

 

 

 

 

4:20 train wakes me up with its presence.
first train of the day.
never early.
never late.

i’m thinking maybe i can hear it before i can see it in the far distance. or is it possible to feel its vibration through the tracks? i’m curious.
i placed my ear close to the track, and listened.

no indication. nothing… but i can see it now.

living research

the focus is not the finished product. today i had the opportunity to meet scott eunson at his studio for the first time. this is part of an exhibition i’m curating for toronto design offsite festival in late january. the exhibition explores the idea of engaging the audience with the process of an ongoing project, and possibly to encourage them to participate in the making of the piece.

scott breaths into his living prototypes, and ‘very many’ is what he refers to as the scale of his work. there are hundreds of cuts and many more off-cuts, several 4×8 waste boards, and tons of dust that has been generated using the cnc machine to experiment with high pressure laminate for the creation of modules. there are many layers to this iterative process — the software, the forms, the line works, then it comes the shadows, which is partly incidental. more updates to come!

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// across the street

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// steps away from #107

// small prototypes

the notion of music

“for in prehistoric times music, like the dance and every other artistic endeavor, was a branch of magic, one of the old and legitimate instruments of wonder-working. beginning with rhythm (clapping of hands, tramping, beating of sticks and primitive drums), it was a powerful, tried-and-true device for putting large numbers of people “in tune” with one another, engendering the same mood, coordinating the pace of their breathing, and heartbeats, encouraging them to invoke and conjure up the eternal powers, to dance, to compete, to make war, to worship.” – herman hesse

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