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Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler

Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler Tony Oursler. Influence Machine, 2000. Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler TONY CONRAD I am not a talking head. —Tony Oursler’s image as devil, projected on a horned-head maquette; Machine, 2000. Pictures are more civil than noise. Only exceptionally is the clangor of clashing audio tracks less than hellish in museum efforts to exhibit multiple works with sound. Whether the pieces are films,1 recorded performances, sound works, or video installations, their simultaneous audio emanations compete and quarrel among one another in the resonant “white cube” in ways that pictures never would. The smooth clear rectilinear walls and hardwood floors of the modern museum gallery are the antithesis of a recording studio, with its soundproofing and wall-to-wall carpeting. When you step into a Tony Oursler show, though, the overlapping sound tracks somehow garble together, cohering as they weave an infernal sonic tapestry. Here sighs and cries and wails coiled and recoiled on the starless air, spilling my soul to tears. A confusion of tongues and monstrous accents toiled In pain and anger. Voices hoarse and shrill and sounds of blows, all intermingled, raised tumult and pandemonium that still http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler

Grey Room , Volume Spring 2003 (11) – Apr 1, 2003

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Publisher
MIT Press
Copyright
© 2003 Grey Room, Inc. and Massachusetts Institute of Technology
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/15263810360661426
Publisher site
See Article on Publisher Site

Abstract

Tony Oursler. Influence Machine, 2000. Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler TONY CONRAD I am not a talking head. —Tony Oursler’s image as devil, projected on a horned-head maquette; Machine, 2000. Pictures are more civil than noise. Only exceptionally is the clangor of clashing audio tracks less than hellish in museum efforts to exhibit multiple works with sound. Whether the pieces are films,1 recorded performances, sound works, or video installations, their simultaneous audio emanations compete and quarrel among one another in the resonant “white cube” in ways that pictures never would. The smooth clear rectilinear walls and hardwood floors of the modern museum gallery are the antithesis of a recording studio, with its soundproofing and wall-to-wall carpeting. When you step into a Tony Oursler show, though, the overlapping sound tracks somehow garble together, cohering as they weave an infernal sonic tapestry. Here sighs and cries and wails coiled and recoiled on the starless air, spilling my soul to tears. A confusion of tongues and monstrous accents toiled In pain and anger. Voices hoarse and shrill and sounds of blows, all intermingled, raised tumult and pandemonium that still

Journal

Grey RoomMIT Press

Published: Apr 1, 2003

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