:: P R E S S ::
Literary review of
by Douglas Crase
:: (January in A Public Space)
"Aperture on a Virtual Field"
A Public Space, Winter No. 17, 2012, p. 68-79.
[Download the PDF]
By permission of Douglas Crase c/o Writers' Representatives.
"Because the sound is algorithmicaly spatialized and
recomposed, no two persons in separate helmets will hear the
same thing at the same time."
"He [Christopher Cox] also maintains... that sound art is
"...it appears they weren't really helmets. They were portals,
through which I could overhear the virtual, sonic field of a
species whose existence was but one possibility in [Bergson's]
"...We can think of
as a field in quantum physics,
and conceive its sound as the unrealized events that are
propagating there as waves. [...] They are those sounds
before they actualized as language or collapsed into inanimate
entropy. To hear through one of the helmets was to hear back
in time, the way a telescope looks back in time while focused
on a distant nebula."
approached the sublime not
by making us grander, but by inserting each passing
individual as an alien -- inarticulate, helmeted -- in
the indifferent flux she define by sound. I call it
indifferent because, thanks to SuperCollider, you can
never rely on what is coming next."
"...her installations refuse to give up their subtlety."
Copyright © 2017 by David Reeder