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  • Essay / Ears Have Walls by Steven Connor - 1324

    Intro: In "Ears Have Walls: On Hearing Art" by Steven Connor (2005), Connor introduces us to the idea that sound art is either out or out. ability to bring the outside inside. Sound work makes us aware of the constant emphasis on division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, as sound propagates and escapes, as the smell. Unlike music, sound art generally does not require silence to be properly presented. Containers of silence called music rooms resonate with the aesthetics and effects on the body of a gallery space; white walls, parquet boards to create optimal acoustics and an ethereal feeling of time and space. When presented in a gallery space, the well-known expansion and escape of sound art can be more clearly articulated. Steven Connor looks at the mixing and creation of sounds through computerization, as well as sound habits; it's immersion, pathos and objectivity.1st PARA: Connor is interested in how sound art is a vehicle for change in the gallery, particularly how sound can expand beyond the walls of the gallery to air it with the sounds of what is outside, or to temporalize a place. Connor talks about the Sonic Boom exhibition held in London in 2000, which featured 23 sound artists exhibiting at the Hayward Gallery. The exhibition focused on sculptures or objects producing sound. David Toop, the curator of the Sonic Boom exhibit, encountered "a typical suburban noise pollution problem," Connor says. When one enters the exhibition, one is immediately overwhelmed by a dense cloud of noise and sound. How many sound objects can be placed in a space? David Toop defends his approach with a w...... middle of paper ......dead hands blow and slap his head and a mocker spits in his face. Clasping hands freeze in the air and thus trigger associations with the noise. This association with noise is also manifested in the spit of the mocker and in the way in which he stops abruptly before reaching the halo of Christ: To perceive a sound in its reality, we need the space of silence and not carnival. Glasmeier believes that this is precisely what John Cage does in 4'33''. There is a suggestion of noise in Cage's work just as there is in Angelico's. The performer of 4'33'' approaches the instrument three times, giving the instrument the possibility of noise without the reality of this noise: the spectator becomes the performer, imagining how this noise can be articulated . It's just like how a blank sheet of music still embodies the music without ever being played; this triggers associations with sound.