18/09/2008 72' 39''
prototypes for the mobilization and broadcast of fugitive sound", 2007. Photo: Brandon LaBelle

Curated by Barbara Held and Pilar Subirà

The recording can be a reflection of the thoughts and emotions of a human being (Arthur Russell), memory (see Brandon LaBelle's project, Phantom Music – Radio, Memory, and Narratives from Auditory Life), or museum (Edgard Varèse used recordings of the Holy Week procession of the Catalan village of Verges, presented every year since the middle ages, in his soundtrack for a film on Miró). A studio production records one perfect performance, its presence in time and space similar to that of a film. Destructive noise can be transposed into delicate vibrations of a transparent membrane (Juan Matos Capote).


01 Edgar Varèse "La procesión de Verges", 1955 2'54''
02 Anne Wellmer, "needle", 2003 3'
03 Brandon LaBelle, "Dirty Ear" 2007 8'42''
04 Richard Garet, "Précis", 2007 6'
05 Octante, "Untitled" 2008 8'15''
06 Arthur Russell, "Home Away from Home", 1986 5'12''
07 Juan Matos Capote, "The trembling of my Williamsburg art studio while they were constructing outside", 2008 6'55'' (Note: Please cover your speakers with a thin sheet of paper or acetate film to better appreciate the vibrations)
08 Roscoe Mitchell, "Parched Plain", 2006 13'06''
09 John Bischoff, "Override", 2002 3'51''
10 Andres Lewin-Richter, "Study 1", 1964. 3'35''
11 Matt Davis "Rain", 2007. 8'55''

ResearchLines of SightmusicsoundBarbara HeldPilar SubiraTape Musicfield recordingsLines of Sight