[Frameworks] Exemplary Sound Design in AG Film

[Francisco Torres]

By excellent I mean, complex, layered, inventive, of rich and nuanced
timbre….excellent for it’s sonic qualities (*as opposed to strictly
intellectual qualities*).

In experimental cinema It seems impossible to separate those things.
Just consider-
One of the best uses of sound in cinema is Kubelka's Arnulf Rainer and yet
it seems the opposite of what the OP is looking for.

2016-05-16 15:45 GMT-04:00 <carl at termite.org>:

> How about a lot of the work by the folks over at the Sensory Ethnography
> Lab, especially those involving Ernst Karel? (Leviathan, Sweetgrass….)
>
> https://sel.fas.harvard.edu/index.html
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> Carl
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> *From:* robert harris [mailto:lagonaboba at gmail.com]
> *Sent:* Monday, May 16, 2016 1:43 PM
> *To:* Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> *Subject:* Re: [Frameworks] Exemplary Sound Design in AG Film
>
>
>
> Thanks for the response Fred. Somewhere in in the recesses of my mind I
> thought of you when posting the question, a. because for decades I’ve
> respected your insights, and b., because one of your most memorable posts
> contained your statement (at least this is how I remember it…) that
> Beethoven’s *Grosse Fuge *is a definitive avant garde work.  A smile
> inducing and welcome statement in the context of Frameworks.
>
>
>
> As to anonymity, community and the internet, I prefer my community to
> involve warm bodies sharing tangible space. Not to say the I don’t
> appreciate Frameworks, I do. And it’s fascinating and heartening to know
> that there are disembodied consciousnesses out there that profess to care
> about something I believe I care about. But this is no fun to type about
> abstractly.
>
>
>
> So, I’m Robert Harris. I live in greater Boston. I teach filmmaking
> (actual 16mm bolex/arri filmmaking in addition to digital video that
> everyone seems to think should be called film) at Fitchburg State
> University in central Massachusetts. I used to be involved with Anthology
> Film Archives Video Program in 70’s and 80’s.
>
> The program for which I’m planning a sound design component is the New
> York State Summer School of the Arts.  Its a program I’ve run for 25 years,
> having inherited it from Gerald O’Grady.
>
> A few lurking frame workers have taught with me and/or been visiting
> artists. Maybe even some former students out there. Tony Conrad taught in
> the program under O’Grady. Sharits probably had a bit to do with the
> program moving to my care. The program is for high school students.  We
> teach 16mm film, digital video, digital photo, computer animation, and
> electronic sound.  Watching healthy amounts of experimental film, from 16mm
> prints, has always been an essential part of the program.
>
>
>
> So that’s that.
>
> I appreciate the suggestions that have been offered, though I’ve not yet
> found what I’m hoping for in the preliminary samplings I’ve been able to
> view and hear.
>
> So many works have music tracks, orchestral music, jazz, electronic music,
> pop…sometimes with narration.  Sometimes the music is great, sometimes it’s
> lacking, but my search is for sound design that reaches farther or deeper
> than sound track music. I enjoyed re-watching *The End*  but it’s “just”
> text and music. * Invocation of My Demon Brother  *is “just” Mick
> Jagger’s electronic noodlings on a MOOG.  Robert Withers just posted that
> Abigail Child’s work is worthy, and I agree.  A title I didn’t mention
> earlier is Robert Gardner’s *Forests of Bliss.  *Deborah Stratman
> frequently does great sound work.
>
> I’m just hopeful that I learn that there is more really rich stuff out
> there.  Sound is pretty wonderful.
>
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>
> Robert Harris
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> On May 15, 2016, at 9:10 PM, Fred Camper <f at fredcamper.com> wrote:
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> Why not tell us your name, location, and the name of the school?
>
> FraneWorks doesn't feel like much of a community anymore. Or maybe I'll
> just never get used to Internet anonymity, fine on some sex advice board
> but to me not right for a place like this.
>
> To be contrary, I'd suggest Christopher Maclaine's *The End* and *The Man
> Who Invented Gold*. They are very great films, in my view but not in
> everyone's, with great soundtracks that do not meet your criteria, but they
> are not "strictly intellectual" either -- far from it. Made with minimal
> means, they might seem amateurish to someone who hated them.
>
> Then there's my favorite Bruce Baillie sound track, the one for *Tung*.
> But check into what i mean before renting the film.
>
> Fred Camper, Chicago
>
> On 5/15/2016 2:36 PM, lagonaboba wrote:
>
> For a class I’m preparing, I’m interested in suggestions as to
> Experimental Films with exemplary, excellent sound design and sound
> editing.
>
> By excellent I mean, complex, layered, inventive, of rich and nuanced
> timbre….excellent for it’s sonic qualities (as opposed to strictly
> intellectual qualities).
>
> As I plan to rent prints, it would be helpful if the works were available
> from FMC, Canyon, MOMA or some USA domestic distributor.
>
> I would include:
>
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> Baillie’s *Castro Street  *&* Quick Billy, *
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> Kubelka’s *Unsere Afrikareise, *
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> Hindle’s *Watersmith*
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> Jack Chambers’ *Hart of London*
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>
> Thanks.
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