Michael Graeve - Simple Methods For Complex Times

More sound sculpture made out of piles of dusty old record players. This is not the nimble, nuanced turntable improvisation of Otomo Yoshihide or Martin Tetreault. It's heaps of dirt and crackle stacked messily into mountains of junk. 

Michael Graeve - Simple Methods For Complex Times

Posted by Mrs. Inside at 05:00

1 comments:

Anonymous,  6 May 2014 at 17:16  

thanks for the share. made me think of this:
"“A similar thing that happens a lot is a big transference to tactility, which I talk a lot about as well. Whenever sound gets subdermal, whenever in Drum ‘n’ Bass the sound gets very scratchy and lots of shakers and rattlers, there’s often a lot of sounds where the percussion is too distributed, too motile, too mobile for the ear to grasp as a solid sound. And once the ear stops grasping it as solid sound, sound very quickly travels to the skin instead, and it’s like the skin starts to hear for you. And whenever the skin starts to hear, that’s where you feel a creepy crawly, and that’s when conduction creeps in, when people say, `I felt really cold’, or really cold music: that’s literally because their skin has dropped maybe a centigrade or something as literally the music has hit it, as the beat has pressed across it."

from Kodwo Eshun's essay "Motion Capture"

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