Subject: Re: as a result of wacking sculptures
From: David Mooney (moko@city-net.com)
Date: Thu Mar 22 2001 - 16:11:55 EST
diGitaLia pRoDucTioNs wrote:
> > but judging from the lack of response from this list, it dont look like
> > anyone wants to take me seriously
>
> Actually, I think it's a great project.
>
> Will there be a live CD?
>
> --
>
> ok, perhaps i spoke too soon... now there is almost too much response for me
> to keep up with, but i'll try....
>
> Live CD - yes, perhaps a few of them. some of the pieces will be
> stand-alone audio pieces, some are meant to be played back in the same spot
> the sounds originated from or other locations, and some will be just pure
> documentations of the performance.
>
> why Moore? because Henry more (no pun...) than any other sculptor, that i
> could think of anyway, has works in public space scattered all over the
> world. the idea was to combine sounds from his sculptures that are seperated
> by great distances, and to play them back at the site of his works here in
> Toronto - thus "transcending space". when i sent out the call for sounds, i
> accepted the 2 submissions on "good faith" - this is honestly the only way i
> could accomplish this project as a student on a budget. i cant really
> concieve why someone who is actually interested in his project would lie
> about the sounds they gave me, and im not sure why anyone would feign
> interest in this project, but maybe im just being naive...
>
> who owns the sounds? a question we all probably have faced at one time or
> another as sound artists. does the sculptor? does he/she even own the work
> any more, if it has been commisioned? as "public art" doesn't it belong to
> the public? these are some of the issues im trying to address by my "night
> excursions" to sites like Wall & Chairs at King & Bay in downtown Toronto.
> here is a work of "public art" payed by under the Percent for Arts clause,
> but what does a work with corporate sponsorship say to the public?
A case involving an Alexander Calder mobile is relevant. It was hanging at the
airport in Pittsburgh, which is operated by a public (local governement)
agency. The airport folks redecorated and painted the mobile to match. Calder
sued and won. It could be the specifics of the contract he had with the airport
that made the difference, I don't recall, but the case had ramifications for
public art--You can't just willy nilly change it.
-- David Mooney dmooney@city-net.com http://www.city-net.com/~moko/"Opaque melodies that would bug most people" (Don "Captain Beefheart" Van Vliet)
The Rhythmicon: http://www.city-net.com/~moko/rhome.html
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