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Bill  Viola.  Video  artist

&ROM THE MOST ANCIENT CULTURES

HUMAN BEINGS HAVE CONSIDERED THE IMPORTANCE FOR THEM OF SOUNDSINRELATIONTOSPACE.

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 in  a  shorter  form..  Houghton  Mifflin. .  edited  by  D.  1986.  It  appeared  as  above  in  Sound  by  Artists.  Los  Angeles.   published  by  Art  Metropole  and  Walter  Phillips  Gallery.  J.  1990.   1976.  in  the  catalogue  for  the  National  Video  Festival.  The  Origin  of  Consciousness  in  the  Breakdown  of  the  Bicameral  Mind.  Lander  and  M. 2.  Boston.THEY CIZEDBYSOMEONECALLEDAhTHERAPISTv 1.  published  by  The   American  Film  Institute.  Lexier.  Co.  This  essay  was  first  published.  Jaynes.

84     The  Sound  of  One  Line  Scanning Quadern !WOMANNAMED"EWASALONEINTHEBUSH CATHEDRALAREINEXTRICABLYLINKEDWITHADEEP ONEDAYIN.AMIBIA.

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A MEDICINE SONG 4IKE TAUGHT IT THE MICROCOSM.

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ITIS THEN.

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BUTRATHERALLSOUNDS.

  San   Francisco.   Harper   and   Row.  p.  Alfred   van   der   Marck   Editions.NOMATTERHOW 3.   The   Way   of   the  Animal   Powers. .  1983.   Campbell.   Quoted   in   J.  163.

 Ablutions  (Kira  Perov).Quaderns  d e  l a  M editerrània   85 Bill  Viola. NEAR.

FAR.

ORLOUD.

APPEARTOBEORIGINATINGAT ACOUSTICS PIONEERED BY PEOPLE LIKE 7ALLACE THE SAME DISTANT PLACE 4HEY SEEM DETACHED 3ABINEATTHETURNOFTHECENTURYWEREDERIVED FROMTHEIMMEDIATESCENE.

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ALTHOUGH INGGALLERIESWHEREABAREMURMUROFAVOICE ARESULTOFCONSTRUCTIONANDNOTSPECIlCINTEN MATERIALIZESATAPOINTHUNDREDSOFFEETAWAY TION.

WAS CONSIDERED AN ESSENTIAL PART OF ITS ACROSS THE HALL OR THE PERFECT CLARITY OF THE OVERALLFORMANDFUNCTION 'REEKAMPHITHEATRESWHEREASPEAKER.

STAND 4HE SCIENCE OF ACOUSTICS IS THE STUDY OF INGATAFOCALPOINTCREATEDBYTHESURROUNDING SOUND IN SPACE )T ASSUMES STRONG ARCHITEC WALLS.

ISHEARDDISTINCTLYBYALLMEMBERSOFTHE TURALASSOCIATIONSBECAUSE.

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86     The  Sound  of  One  Line  Scanning Quadern SOUNDWAVES.

SOUND.

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THESAME CEOFF BEINGEQUALTOTHEANGLEATWHICH PRINCIPLEATWORK4HEPROCESSESOFCONTEMPO THEY ARRIVE 7ITH MULTIPLE SURFACES THIS RARYMEDIASYSTEMSARELATENTINTHELAWSOF BECOMES AN ECHO.

AND IT IS THEN POSSIBLE NATURE n THEY HAVE EXISTED IN VARIOUS FORMS TOHEARONESOWNVOICE.

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AND BUILT UP A POWERFUL PHYSICAL ATACERTAINLOCATIONINTHEROOM RESONANCE THAT QUICKLY CONDUCTED THROUGH .

Quaderns  d e  l a  M editerrània   87 THE BUILDING AND INTO THE EARTH TO CAUSE AN ESISOFTHEMEDIABODYELECTRICnTHETELEGRAPH EARTHQUAKE IN WHICH BUILDINGS SHOOK.

PANES ANDTHESUBSEQUENTSYSTEMSOFTHETELEPHONE.

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A VIBRATING SYSTEM WITHAPROPERLYTUNEDDRIVEROFADEQUATESIZE COMPOSEDOFSPECIlCFREQUENCIESASONEWOULD ANDSPECIlCPLACEMENT EXPECTTOlNDINANYRESONATINGOBJECT!SHAS BEENDESCRIBEDMANYTIMES.

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 1944.  pp.  Book  of  the  Hopi.  New  York..  p.  1963. 5.  Described  in  J.  F.  Waters.  5.  159-­ 162.  New  York.  Ives  Washburn.  Inc.  Prodigal  Genius:  The  Life  of  Nikola  Tesla.  Ballantine  Books.VIDEOHASEVOLVEDOUTOFSOUNDTHE 4. .J.  O’Neill.

88     The  Sound  of  One  Line  Scanning Quadern ELECTROMAGNETIC ANDITSCLOSEASSOCIATIONWITH INAKEYPIECEOFEQUIPMENTINTHESTUDIO.

THE CINEMAISMISLEADINGSINCElLMANDITSGRAND VIDEOSWITCHER4HISWASTHECENTRALCREATIVE PARENTTHEPHOTOGRAPHICPROCESSAREMEMBERS DEVICE FOR ORGANIZING WHAT WAS TO lNALLY BE OF ACOMPLETELYDIFFERENTBRANCHOFTHEGENEA SEENBYTHEVIEWERATHOME4HEBASICELEMENTS LOGICAL TREE THE MECHANICALCHEMICAL  4HE OF CINEMATIC LANGUAGE WERE HARD WIRED INTO VIDEOCAMERA.

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AND CLOSERORIGINALRELATIONTOTHEMICROPHONETHAN WITH A SWITCH ON EACH CAMERA CUTS COULD BE ITDOESTOTHElLMCAMERA MADETOANYPOINTOFVIEWDESIRED'RIFlTHS 4HEORIGINALTELEVISIONSTUDIOWASAHYBRID FADE TO BLACK BECAME A GRADUAL REDUCTION IN OFRADIO.

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EVERYSTREETINTHE WHILETHEPHILOSOPHERSSPEAKOFhTUNINGTHE COUNTRYISSELECTABLEINVARYINGSCALESDOWNTOA INDIVIDUALvASAMEANSTOCONTACTANDREPLEN FEWSQUAREBLOCKS.

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Quaderns  d e  l a  M editerrània   91 SATELLITEREMOTESENSING-EMORYREPLACESSEN HEARv)MOVEMYHEADFROMSIDETOSIDE SORYEXPERIENCEA0ROUSTIANNIGHTMARE GLARINGATHIM.

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OR ANDSTILLNESSOFTHE!USTRALIANDESERT$ESERT THE!BORIGINALPEOPLESOFTHE!USTRALIANDESERT SOLITUDEISANEARLYFORMOFVISIONARYTECHNOL OUTBACK.

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h$OYOU LIFEISREDUCEDTOSUCHBRUTALMINIMALISM.

 Elkin.  1978.  vol. p.  3.  1977.  E.  Lucia.  University  of  Chicago  Press.  Chicago.THE 7.  Aboriginal  Men  of  High  Degree.  p.  1.  Quoted  in  A.  A  History  of  Religious  Ideas.  St.P. 8.  45. .  Australia.  University  of  Queensland  Press.  Mircea.

92     The  Sound  of  One  Line  Scanning Quadern USUAL CONTROL VALVES ARE RELEASED AND IMAGES EVISIONSETIS.

ATTHEBASELEVEL.

THESAME7ITH WELLUPFROMWITHIN4HEBOUNDARYBETWEEN THE FURTHER IMPLEMENTATION OF DIGITAL CODES THE SOFTWARE OF THE PRIVATE INTERIOR AND THE TOBRINGPERSONALCHECKING.

BUYINGGAS.

COOK HARDWAREOFTHEEXTERIORLANDSCAPEISBLURRED ING WITH THE MICROWAVE AND OTHER FUNCTIONS THEIRFORMSINTERMINGLEANDCONVERSE INTOTHISSAMEDOMAIN.

THEREWILLBEANEVEN %VIDENCEOFSYNAESTHESIA.

THECROSSOVERBE MOREEXTENSIVECOMMONLINGUISTICROOT%FFORTS TWEENANDINTERCHANGEABILITYOFTHESENSES.

HAD WITHARTIlCIALTECHNOLOGYHAVEMADEITNECES BEENREPORTEDININDIVIDUALSSINCETHEEARLIEST SARYTODISTINGUISHBETWEENSYNAESTHESIAASAN CIVILIZATIONS)THASBEENPARTICULARLYEVOCATIVE ARTISTICTHEORYANDPRACTICE.

ANDSYNAESTHESIA FORARTISTSWHOHAVEDREAMEDOFTHEUNIlCATION ASAGENUINESUBJECTIVEABILITYORINVOLUNTARY OF THE SENSES.

AND THERE ARE MANY EXAMPLES CONDITION FOR CERTAIN INDIVIDUALS 4HERE IS A INARTHISTORY.

MORERECENTLYRANGINGFROMTHE NATURALPROPENSITYINALLOFUSTORELATESOUND 2USSIANCOMPOSER3CRIBABINSCHROMATICPIANO ANDIMAGE4HEBEAUTYOFTHESEEXPERIENCESIS WHICH PLAYED COLORS FROM A KEYBOARD.

TO THE INTHEIRmUIDLANGUAGEOFPERSONALIMAGINA NAUSEAOFTHE SONETLUMIÒRE SHOWSOFPUBLIC TION AND IN THEIR TIES TO MOOD AND MOMENT TOURISM 6ISUAL ARTISTS HAVE OFTEN DESCRIBED !SLONGASTHEIRINDIVIDUALSUBJECTIVENATUREIS HEARINGMUSICORSOUNDSWHENTHEYWORK.

AS UNDERSTOOD.

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WEWILLBESPAREDTHETEDIUMOF MUSICINIMAGISTICFORMh-YWHOLEIMAGINA THEDOGMAANDPROPRIETARYTHEORIZINGOFTHE TIONTHRILLEDWITHIMAGESLONGLOSTFORMSFOR PRACTITIONERS.

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x=BROKEINTOACHANTAND BETWEENANDINTERCHANGEABILITYOFTHE SEEMEDTOGOINTOATRANCE.THECROSSOVER TIONh(OUSHKEN.

POSSESSEDBYSOME SENSES.

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HISONLYGARMENT.

FALLTOTHEGROUND(E 3YNAESTHESIA IS THE NATURAL INCLINATION OF PUTHISHANDSTOHISMOUTHWITHAMOSTIMPRES THE STRUCTURE OF CONTEMPORARY MEDIA 4HE SIVEGESTUREANDBROUGHTTHEMAWAYAGAINWITH MATERIAL THAT PRODUCES MUSIC FROM A STEREO HISlSTSCLENCHEDANDTHUMBSCLOSETOGETHER SOUNDSYSTEM.

TRANSLATESTHEVOICEOVERTHETEL (EHELDTHEMUPTOTHEHEIGHTOFMYEYES.

AND EPHONE.

ANDMATERIALIZESTHEIMAGEONATEL WHENTHEYWERELESSTHANTWOFEETFROMMYFACE.

 New  York.  Seashore.  Psychology  of  Music.  1911.;  quoted  in  C.  Inc.  New  York.  R.  Wagner.   Dover  Publications.  166-­167.  pp. 9.. .  My  Life.  Dodd  and  Mead.E.  1967  (reprint  of  1938  original).

Quaderns  d e  l a  M editerrània   93 DREWTHEMAPART)SAWTHATTHEREWASNOWA THEAMNESIAANDANAESTHESIAOFAVASTCLUTTERED SMALL.

ALMOSTOPAQUEOBJECTBETWEENTHEM)T AND CONFUSED LANDSCAPE OF IMAGE FRAGMENTS.

WASABOUTANINCHINDIAMETERINTHEMIDDLE THESEMIOTICIANSlELDDAYOFDELIGHTS ANDTAPEREDAWAYINTOHISHANDS)TMIGHTHAVE 4HISCONDITIONOFOURCONTEMPORARYMEDIA BEENAPIECEOFSEMITRANSPARENTDOUGHORELAS CULTUREISHAUNTINGLYEMBODIEDINASINGLEINDI TIC.

BUTWHATEVERITWASITSEEMEDTOBEALIVE.

VIDUALOFTHEEARLYTHCENTURY.

AREMARKABLE REVOLVINGATGREATSPEED.

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AP MNEMONIST TO WHOM ALL SENSORY MODALITIES PARENTLYFROMMUSCULARTENSION.

WASTREMBLING WERE mUIDLY AND UNCONTROLLABLY CONNECTED VIOLENTLY4HEMOONWASBRIGHTENOUGHTOREAD WHOWASASSAULTEDBYABARRAGEOFIMAGESAND BYAS)GAZEDATTHISSTRANGEOBJECT(OUSHKEN ASSOCIATIONSREMAININGFORHOURS.

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THEPRESENT SOMETHREEINCHESSEPARATEDHISHANDS.

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URIACONDUCTEDA PEARED.ANDTHEFUTUREFANTASY IZEDTHATITWASNOTTHEREANYMORE)TDIDNOT WEREBLURREDORNON EXISTENT4HEGREAT2US BREAKORBURSTLIKEABUBBLEITSIMPLYDISAP SIANBRAINRESEARCHER!2.

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AND.

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(OUSHKEN FORM.

ATREMENDOUSANDUNPREDICTABLE COULDNOTRESISTACHUCKLE.

URIADESCRIBED3ASHEmAWLESSLYRECITED SENSES INTO A SURROGATE ARTIlCIAL FORM.FORNOTHINGWASTO UNDERSTANDINGWASGAINEDOFTHE BESEENTHEREv OPERATIONSOFHUMANPERCEPTION 7HENTHElRSTTECHNOLOGIESOFIMAGEAND SOUNDCODIlEDTHEFUNCTIONINGOFTHEHUMAN .

A TRE DOZENSOF PAGESOF TEXTlLLEDWITHEVERYTHING MENDOUSANDUNPREDICTABLEUNDERSTANDINGWAS FROMANARRATIVESTORYTOAFOREIGNLANGUAGE GAINEDOFTHEOPERATIONSOFHUMANPERCEPTION HE DID NOT SPEAK.

COMPLEX SCIENTIlC TERMS.

3IMILARLY.

ASTHEIMPLEMENTATIONOFTHECOM OREVENNONSENSESYLLABLES(ISMEMORYWAS PUTER BECOMES AN EMBODIMENT OF MIND.

THE ALSO SPATIAL n HE COULD REMEMBER THE POSI NEWLINKSTOTHEhMINDSTUFFvOFDIGITALDATA TIONSOF THEINDIVIDUALELEMENTSONTHEPAGE PROCESSINGWILLCERTAINLYPROVIDEEVENMOREPO ORBLACKBOARDINANYORDERPRESENTED.

ANDDID TENTTRANSLATIONPOSSIBILITIESBEYONDBASICSEN SOEVENWHENASKEDTOREPEATTHEMYEARSAFTER SORYINPUTS!LTHOUGHITISTEMPINGTOPONDERA THEORIGINALTESTS7HENHEWASACHILD.

THE POSSIBLESYNAETHESTIChPUTTINGBACKTOGETHERv IMAGERYOF SCHOOLWASSOREALTHATHESOME OFSCIENCESDISCRETEPERCEPTUALANDCOGNITIVE TIMESFAILEDTOGETOUTOF BEDTOGETREADYTO COMPARTMENTSINSPIREDBYTHESEELECTRONICFREE GO!CHARACTERISTICOF THEINNERWORLDOF 3 ANDmUIDINTERCHANGESOFOURWAYSOFSEEING.

THATGREATLYIMPRESSED.URIAWASHISEFFORT WHATSEEMSTOBEEMERGINGATTHEMOMENTIS LESSABILITYATSYNAESTHESIA.

.   Bridges.   Campbell..   New   York.;   quoted   in   J.AFACTTHAT.   E.URIA 10.P.   The   Uttermost   Ends   of   the   Earth.  163.   cit.   1946. p.   Dutton.   E.L.   op.

94     The  Sound  of  One  Line  Scanning Quadern REALIZEDWASPRECISELYTHEREASONTHATHEWAS INGAlNALREPORTONTHISSUBJECT.

SINCEDUR ABLETOPERFORMSUCHAMAZINGFEATSOF RECALL3 INGSESSIONSIMAGESWOULDCOMEINTO3MIND DESCRIBEDHISPROCESSIONOF THOUGHTSh)HEARD THATCONSTANTLYSLIPPEDHIMOUTOF CONTROLAND A BELL RINGING ! SMALL ROUND OBJECT ROLLED HE WOULD BEGIN TO hOPERATE AUTOMATICALLY.

v RIGHT BEFORE MY EYESx MY lNGERS SENSED BECOMING VERBOSE.

HIS MIND CLUTTERED WITH SOMETHINGLIKEAROPEx4HEN)EXPERIENCED DETAILSANDIRRELEVANCIESASHEDIGRESSEDEND ATASTEOF SALTWATERxANDSOMETHINGWHITE LESSLY3LIVEDWITHANIMAGESTREAMTHATHE )MSITTINGSTILLINARESTAURANTnTHERESMUSIC COULDNTTURNOFF/UTOF HISPOSSESSIONOF A 9OUKNOWWHYTHEYHAVEMUSICINRESTAURANTS SUPER HUMANINDELIBLEMEMORYHEDEVELOPED "ECAUSEITCHANGESTHETASTEOF EVERYTHING)F ANOVERWHELMINGDISTURBINGSENSEOF EVERY YOUSELECTTHERIGHTKINDOF MUSIC.

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HEMIGHTHAVE RANTSKNOWTHISv BEENONEOFTHEMOSTEXTRAORDINARYINDIVIDUALS THAT THE CULTURE HAD EVER PRODUCED )NSTEAD.

#REATIVEhMADNESSvMIGHTSIMPLYBEA HE ENDED UP AS A CONTEMPORARY TRAGIC HERO.

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IT BECAME IMPOSSIBLE FOR 3 TO OFFERS US CREATIVE POTENTIALS PREVIOUSLY ONLY FUNCTIONh)ALWAYSEXPERIENCESENSATIONSLIKE AVAILABLE TO INDIVIDUALS WITH SPECIAL POWERS THESE7HEN)RIDEINATROLLEY)CANFEELTHE 4HE SYNAETHETIC POSSIBILITIES IN THE SENSORY CLANGINGITMAKESINMYTEETH3OONETIME) ANDCONCEPTUALDOMAINSAREINSPIRATIONAL.

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AS VICTIMS OF hSANEv COMMUNICATORS THEREANDEATITANDNOTHAVETHISCLANGING) WITH EQUALLY hSANEv IMAGINATIONS.

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AND)COULDNTBRING EFlCIENTINFORMATIONMANAGEMENTSYSTEMSAND MYSELFTOBUYANICECREAMAFTERSHEDANSWERED PROFESSIONALCOMMUNICATORS THATWAYx!NOTHERTHINGxIF)READWHEN !RTISTS.

POETS.

COMPOSERS.

AND SCIENTISTS )EAT.

)HAVEAHARDTIMEUNDERSTANDINGWHAT WHOHAVEHEARDTHEVOICESKNOWTHEYARENOT )MREADINGnTHETASTEOFTHEFOODDROWNSOUT MADnTHEIRWORKTESTIlESTOTHATFACT(OW THESENSEv EVER.

SEVEREMENTALBREAKDOWNCANBEATYPE !S HE GREW OLDER.

THE INABILITY OF 3 TO OF OCCUPATIONAL HAZARD FOR PERSONS WORKING FORGET BEGAN TO SERIOUSLY AFFECT HIS LIFE.

AND ATTHEBOUNDARYOF COMMONLYACCEPTEDCON HE EVENTUALLY QUIT HIS JOB AND BEGAN A LIFE SENSUS REALITY.

A SPACE CULTURALLY FABRICATED OF EXHIBITINGHIMSELF ASAPUBLICATTRACTION BY PERCEPTUAL CONVENTIONS IMPOSED BY THE .URIACOMMENTEDONTHEDIFlCULTYOF COMPIL STRUCTURING DEVICES OF LANGUAGE.

 pp.  159..  p.  A.R. .  1968.  81-­82.  Basic  Books. 12.  The  Mind  of  a  Mnemonist.  New  York.  Ibid. CUSTOMARY 11.  Luria.

Quaderns  d e  l a  M editerrània   95 BEHAVIOR.

AND FORGOTTEN HISTORIES #REATIVE ONCESAIDTHATHETHOUGHTHIMSELF POSSESSED hMADNESSvMIGHTSIMPLYBEADISORDEROF HIS BYMADNESS(EONCETOLD.URIATHATUNTILHE TORY.

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ASVISION BECAMEANADULTANDGOTHISlRSTJOB.

HEJUST ARY INSIGHTS BECOME THE COMMONPLACE FACTS ASSUMEDTHATEVERYONESMINDFUNCTIONEDIN OF CULTURE )N ALL OF THEIR SESSIONS.

3 NEVER EXACTLYTHESAMEWAYHISDID .