The artworks presented here are audio sculptures – brief, phatic recordings of places and spaces. These pieces are modeled after photographs, and meant to be engaging or informative in the same kinds of ways – as journalistic, immersive, affecting, experimental, and/or editorial objects that record action in order to translate experience across time and space.

The idea of making sound recordings as documents is, of course, quite old. Precisely as old as sound recording, actually, given the original marketing of the phonograph as a way to record a dying relatives’ last words. But the practice of recording sound as discrete, non-musical artworks that capture fragments of time rather than entire events is much less developed. Usually sound recordings are focused on events such as rituals, speeches, and songs that have definite beginnings and endings. Often one also hears representative fragments of ongoing phenomena like whale sounds or the traffic in New York City. But one rarely hears recordings that interrogate space or place, rather than temporal events. Of course, every recording has temporality, and time is always an important consideration. But sound also communicates a lot about what it feels like to be somewhere – in a city or a war zone or a building or wherever.

For this reason, I am attempting to make recordings that emulate the aims of visual media, in the belief that sound has lately been an underexploited resource for the communication of experience, and with the expectation that something artistically exciting can eventually emerge. I hope that these sound recordings can run the same expressive gamut as photography, and thus be everything from humorous to poignant to politically trenchant.

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