Why All The Noise? An exploration of auditory and durational encounters of four artworks at Dia:Beacon, New York State, USA; how these artworks and my practical research function as machinic systems of cinematic thought
thesisposted on 20.02.2019 by DAVID CHESWORTH
In order to distinguish essays and pre-prints from academic theses, we have a separate category. These are often much longer text based documents than a paper.
My research investigates sonic and durational experiences that formed a major part of my encounter with four artworks at Dia:Beacon, a large contemporary art museum in upstate New York that exhibits post-minimal/post-conceptual art by significant American and European artists. The four artworks are: Gerhard Richter '6 Gray Mirrors' (2003), Robert Ryman 'Installation at Dia:Beacon' (2010), Max Neuhaus 'Time Piece Beacon' (2005), and Robert Smithson 'Gravel Mirrors with Cracks and Dust' (1969). I explore concepts that elucidate how framed experiences of sound and duration (which I qualitatively endured), enabled experiential insights not readily available through spatial and visual modalities.