Live To Air: Artist's Sound Works



Download liner notes and artwork (4.4 mb zip file)





A. Rock Idioms: Works that use rock idioms and their associated structures


1. Bruce McLean "Limpo-Wristo Poncho-Rocko" (7:44)



2. Julia Heyward "Keep Moving Buddy", (5:21), 1982



3. Rod Summers "Mailart Dada Skank" (5:50), 1981



4. Art & Language "Future Pilots" (2:24), 1981



5. Art & Language "Ratman, The Weight Watcher" (2:27), 1981



6. Barbara Ess "Oblivion Call Me to Ya (Part III)" (5:22), 1982



7. Dan Graham "My Religion: Extract from a work tape: Ann Lee" (6:50)



8. Clive Robertson "Hegemony" (2:36), 1980



9. Clive Robertson "Whose Going to Pay You to Stay at Home" (5:36), 1980



10. Yura Adams "Femme Futura: Switch Fever" (2:30), 1982



11. Yura Adams "Maid Without Tears" (3:00), 1982



12. David Garland "I Am With You" (3:14), 1982




B. Images & Narrative: Works that construct narrative through the juxtaposition and collaging of sounds and images


1. Tina Keane "Demolition" (4:22), 1982



2. Jacki Appple "The Garden Planet Revisited (Scene 4 'The Storytellers')" (5:17), 1982



3. Adrian Hall "Depth Gauge" (6:23), 1981



4. Arlene Schloss "How She See It -- By Her 3:00 AM June 6 1981", (3:40)



5. Richard Layzell "An Eye for Music" (5:16), 1982



6. Ian Breakwell "The Holiday Cottage" (4:17)



7. Bob George "Warhead in the Forehead" (3:00)



8. Ian Murray "Three Studies from Toward a Northern Service; Station Identification, the Weather, Pet Corner! (8:53), 1978-79



9. Hannah O'Shea "A Litany for Women Artists" (5:34)



10. Rose Garrard "White Feather" (5:00)



11. Gerald Newman "Epitaph (South Atlantic)" (8:32)



12. Silvia C. Ziranek "Rarely Talk (Used Air)" (7:49), 1982




C. Technological & Audial Space: Works that are concerned with and refer to the audial space created by recording technology


1. Lawrence Weiner / Peter Gordon "Memories of Stu Irwin" (6:30), 1982



2. Connie Beckley "To Faust: A Footnote" (7:27)



3. Charlie Hooker "Restricted Movements" (5:02)



4. John Nixon / Anti Music "A Sampler Pink + Blue" (5:15)



5. Maurizio Nannucci "Fingers Music" (2:23)



6. Hank Bull "The H.P. Dinner Show" (5:30)



7. David Cunningham "But Everybody Loved Dominic Lynch" (2:48), 1982



8. Jack Goldstein untitled, (3:00)



9. Jack Goldstein untitled (:42)



10. Tom Marioni "Studio Sounds" (4:25), 1981



11. David Troostwyk "Twelve Drumming Messages" (4:54), 1977



12. Dieter Roth "Harmonica Curse" (3:00), 1981




D. Urban Reference: Works focusing on the relationship between the individual and the urban environment


1. Kerry Trenove "Enclosures" (5:00)



2. Helen Chadwick "Model Institution: an Architectural Sound Sculpture" (5:33)



3. John Carson "American Medley" (8:13)



4. Vito Acconci "Now Do You Believe The Dirty Dogs Are Dead" (1:10)


5. Stuart Brisley "There Will Be No Disasters (Georgiana Collection V)" (5:00)



6. Les Levine "Lose" (5:00)



7. F. Uwe Laysiepen / Marina Abramovic "Bioguarde" (4:43), 1982



8. Roberta M. Graham (The Bob Graham Four) "Hit and Myth" (4:55), 1982



9. Steve Willats "The New Reality" (8:00), 1982



10. Elsa Stansield / Madelon Hooykaas "Void" (10:00)



From the LP "Live To Air: Artist's Sound Works" (Audio Arts Magazine, Volume 5, Nos 3 & 4, 1982)


Download liner notes and artwork (4.4 mb zip file)


Notes

"Live to Air comprises an international compilation of artists' sound works. Forty-five artists were invited to make a work for the context of Audio Arts with an approximate duration of five minutes. The medium of magnetic tape, and the processes and technologies associated with sound recording, now represent a significant and growing area of art practice that has, until now, been largely overlooked. This work has no form other than playback from tape, as opposed to the recording function being used 'passively' as a method of retaining an acoustic event, or acting as a strategy for other work. Furthermore, the processes of working with sound provide artists with similar manipulative, structural and ideological freedoms and possibilities to those normally associated with the traditional media such as painting, sculpture and collage. In many respects, this audial/technological 'space' is parallel to the physical space of a gallery, yet extends it through the potential of widespread dissemination inherent in the multiple production of cassettes and through broadcasting.



Editor: William Furlong
This issue includes 3 x C82 cassettes produced in Dolby Stereo
Produced to coincide with Audio Arts at the Tate Gallery, August & September 1982.
The first issue of Audio Arts was published in 1973.