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electro-acoustic dubcology ii: hungryman gallery sound walk
June 15, 2009 10:43 AM PDT
Electro-acoustic Dubcology II: As an artist and designer, landscape, especially in an urban context is a complex matrix of systems, communities and networks. It has its roots in both painting and agriculture and has come to mean more than garden design or the picturesque. In my practice I have found inspiration with emerging practices and thinking of the 1970’s artists, musicians, critics and designers about landscape and sound, specifically Rosalind Krauss’ article “Sculpture in the Expanded Field”, the advent of dub reggae, and the formation of the world sound project (also known as acoustic ecology) by Murray Shaffer. The work I am doing relates to contemporary discourse in Landscape Urbanism, Electro-acoustic music and sound art.
PLAY LOUD electro-acoustic dubcology I.2: arboretum trail/pond/zucker shrubs
December 10, 2007 11:59 PM PST
This is the second part of recordings I've done this past summer. electro-acoustic dubcology I: Rhododendron Garden
November 26, 2007 08:55 PM PST
This is part one of a series of podcasts that focus on certain parts of the Cornell University Plantations and Arboretum. The first part are my mixed and processed sounds from the Rhododendron Garden. These sounds were recorded late Spring and early Summer. I feel that these sounds will resonate with the listener more at this time in late Fall and early Winter. These podcasts are meant to be listened to in the places they were recorded. These recordings should be treated as audio tours and sound-walks. Thanks for listening. |
About Norman LongNorman W. Long b. 1973 Chicago,IL Has been practicing his art since 1994. ABOUT DUBCOLOGY: It is a title that refers to a recording style made popular in Jamaica in the early 1970's and ecology German Ökologie : Greek oikos, house + German -logie, study (from Greek -logi?, -logy). 1. The science of the relationships between organisms and their environments. Also called bionomics. 2. The relationship between organisms and their environment. What I am doing in these particular podcasts is a subtle versioning of environments and experiences in order to uncover peoples understanding of landscape and how people relate to it. My practice involves “gardeningâ€, collecting performing and recording to create objects, environments and situations in which the audience and myself are engaged in an open-ended dialogue about memory, space, value, silence and the invisible. Memory to me is non-linear. While some of the sounds or objects used in my work are from my own experience, I want the sounds/objects to trigger memories in others so they too can reflect upon their own memories based on the content of the environments I create. Design from art and altars of Africa and the African-Americas to Japanese garden design have influenced much of the work I’ve produced. I am intrigued by the way everyday objects, from bottles to baseball bats, are transformed into spiritual devices in some African altars and how the many cultures in the African Diaspora create structure and meaning through seeming-chaos, domestic items and chalk drawings. My discovery and research into the visual culture of the African Diaspora was key to my development as an artist along with my interests in jazz, improvised and experimental music. Sound art/Music and altars illustrate how chaos and form interact, influence and coincide with each other in the creation of living art spaces that trigger memory. The work of Felix Gonzales-Torres and the Art Ensemble of Chicago are huge influences for me because of their use of real and compositional space. They have created their own aesthetic from the African Diaspora. It is both extremely personal improvisations and art pieces that connect with the audience on a spiritual, political and historical level, through the use their respective vernacular, use of iconography, while remaining in the present. They use the tools and the language of the present that are part of their own lives. Space has been the most recent subject of interest to me. The way I work with space is through sound and the awareness of balance and tranquility, as in the manner of Japanese garden design, specifically Zen gardens. Sound is a rare form of material which takes up and re/defines space but does not tangibly exist. I consider sound a material which I design, manipulate, build, structure and present accordingly in order to create interesting relationships between sound/object/space/audience. I am not interested in the creation of binary logical connections but rather in juxtapositions that are rhizomatic and open-ended. Japanese garden design, in concept, is as much sample-based and metaphoric as the altars of the African Diaspora, but the execution is totally different. Zen garden design specifically uses natural objects such as stone, trees and plants in a constructed space. What I’ve learned from garden design is how to take up space with as little objects as possible and how to create a vastness of space with myriad materials. Time, silence and the invisible are key subjects to my installations and are as important as they are to garden design. The act of listening as well as allowing space and time for introspection are important in my work. Value and worth also are important themes that come up in my installations. Everyday, used, broken, useless domestic objects are juxtaposed with handmade mini-speakers and computer-generated sounds in order to open up a dialogue on memory and value of objects in the context of the rampant and abusive market mentality of our post -9/11 era. FollowersFavorite LinksNorman long's Friends
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