This is a place to gather all my highlighted quotes in one place. Ordered not by any formal format, but instead this page will consistently be updated each week to formulate a collection of important notes that will be important in shaping my research project.
"The Gallery space is not a neutral container, but a historical construct. Furthermore, it is an aesthetic object in and of itself.”
Rasmus Holmboe "The Institutional Situation of So-Called Sound Art". Seismograf (2020).
“In installations, sound contributes to delimitate actively a place, reabsorbing the dualist opposition between time and space. One of the principal properties of sound is to sculpt the space.”
Bosseur Jean-Yves “Musique et Arts Plastiques”. Minerve, Paris. (1998).
“Exhibitions are essentially spaces of experience, manipulated environments prepared specifically for an audience so as to achieve a certain goal.”
Anna Cline “The Evolving Role of the Exhibition and its Impact on Art and Culture". Trinity College (2012).
“To hear past the historical insignificance assigned to sounds, we need to hear more than their sonic or phonic content. We need to know where they might touch the ground, momentarily perhaps, even as they dissipate in air."
Douglas Kahn "Noise, Water, Meat" MIT Press (1999)
"Equally, the task of art and architecture in general, is to reconstruct the experience of an undifferentiated interior world, in which we are not spectators, but to which we inseparably belong."
Juhani Pallasmaa "The Eyes of the Skin". Wiley Academy (2012).
"Haunting can be seen as intrinsically resistant to the contraction and homogenization of time and space. It happens when a place is stained by time, or when a particular place becomes the site for an encounter with broken time."
Mark Fisher "What is Hauntology?". Film Quarterly (2012).
"You may write me down in history With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise."
Maya Angelou "Still I Rise" And Still I Rise (1978)
“In the age of public art installations and immersive exhibition experiences, art is expanding beyond the confines of its traditional spaces and its associated physical boundaries.”
Adam Hencz “Chamber Of Aesthetics: Revisiting The White Cube, Its Rules Of Display And Erosion of Influence". Artland (2020).
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"In order to make sounds adaptable to musical use, tools must ‘detach’ the reality associated to sounds so our perception will focus on the phenomena and will not be distracted by the references they may carry."
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Daniel Teruggi "Technology and Musique Concrete". Research Gate (2007).
" The most essential auditory experience created by architecture is tranquillity. Architecture presents the drama of construction silenced into matter, space and light. Ultimately Architecture is the art of a petrified silence.."
Juhani Pallasmaa "The Eyes of the Skin". Wiley Academy (2012).
" As modern art became more abstract and more autonomous, it called out for a space that mirrored its homeless condition, a space that came to be known as ‘the white cube."
Hal Foster "After the White Cube". London Review of books (2015).
"The white cube was a transitional device that attempted to bleach out the past and at the same time control the future by appealing to supposedly transcendental modes of presence and power."
Brian O'Doherty "Inside the White Cube". The Lapis Press (1986).
"That's what I think art is about, when it's not boring, it's the allowing of ghosts to come back."
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Jacques Derrida "Spectres of Marx". Routledge (1993).
"Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness."
Juhani Pallasmaa "The Eyes of the Skin". Wiley Academy (2012).
"Places [should be understood] not as points or areas on maps, but as integrations of space and time; as spatio-temporal events. This is an understanding of place – as open ... as woven together out of ongoing stories."
Doreen Massey "For Space". SAGE Publications Ltd (2005).