Sound art is slow art. I've noticed in our current exhibition of Robert
Wilson's 14 Stations, which is in effect 14 sound art environments,
accompanied by elaborate visual props, that many visitors and critics spend
the usual 4.8 seconds per station (that's about the average viewing time for
visual works). The sound loops, which are marvelous, often take 10 or 20
seconds, or even 3 or 4 minutes, to fully reveal themselves. And they
create a complex emotional effect, often missed by those who don't stop, and
What to do? We try the obvious. Our docents move through that exhibition
slowly. Our written material notes the importance of sound. No "go slow"
signs, but everything short of that.
> -----Original Message-----
> From: Josephine Bosma [SMTP:[log in to unmask]]
> Sent: Wednesday, March 13, 2002 5:58 AM
> To: [log in to unmask]
> Subject: Re: Thoughts
> > critics often lack the vocabulary to thoughtfully and articulately
> engage with these
> > very same works. Therefore they often give these works scant attention
> and quickly move on
> > to something that is fundamentally visual or sculptural based.
> The same happens for most interactive art.
> > However I do get the sense that there is an increasing awareness of the
> importance of
> > sound art
> When dealing with sound art that incorporates a computer and a network
> of computers it is hard to speak of it as only sound art though.
> So a new criticism and different view of both art and sound art is in
> order, like I believe Beryl Graham suggested too in her intro. We need
> critics that can experience instead of just observe.