Thanks for this. Knowing what the sources are for the sound of Fire of Waters is particularly interesting for me as previously I did not know these facts although there had been much conjecture. My reference to it in my article THUNDER & LIGHTNING Noise: Aesthetics and Audio-visual Avant-garde Practice in Goddard. et al. (Eds.). Reverberations: The Philosophy, Aesthetics and Politics of Noise (Continuum), described the sound as heard; likening the sound to external sources somewhat different to what they actually were. The troubling question that this raised is: how does prior knowledge of what is being heard (and seen for that matter) affect the viewing-listiening experience of the film?
Best Wishes Rob On 7 Aug 2017, at 02:21, Mark Toscano <mrkt...@gmail.com> wrote: > Hi all, > > I realize it's kind of self-promotional, but since a halfway decent amount of > people seemed to like it, I hope you'll indulge me a bit of news about my > Preservation Insanity site. > > Just wanted to spread the word that after a long period of inactivity, I've > moved, spiffed up, and begun posting again to the site, which is now here: > > https://preservationinsanity.wordpress.com/ > > For those who haven't checked it out before, I try to write periodically > about archiving, preservation, and experimental film, so if that's of > interest, please do give it a look! > > The most recent post is a somewhat epic one I finished today about the > soundtrack for Brakhage's film Fire of Waters, and the restoration questions > it poses, with a healthy dose of info about his sound filmmaking approaches > to boot. > And if you're on Instagram and interested, I've been posting more bite-sized > things for about a year now under the name preservationinsanity. Again, feel > free to follow it if it's of interest! > > Thanks for indulging me - > > Mark T > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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