Bill Dietz

PublisherEar | Wave | Event2014
Ear │ Wave │ Event is tired of hearing that music or sound is beyond language or outside meaning. Ear │ Wave │ Event can’t deal with another hymn to the ethicality of hearing. Ear │ Wave │ Event will scream if another art historian reports “discovering” sound.   Ear │ Wave │ Event does not consider the descriptive cataloguing of audio recordings as criticism.  Ear │ Wave │ Event was founded because there is a growing community of artistic practitioners and theorists who are eager to come together and address those strains of sonic intelligence (material, intellectual, other) that are ...
PublisherEar | Wave | Event 2015
While we’ve applauded recent moves in art history and media studies challenging the hegemony of the visual, why does the waxing art world topicality of “listening” seem to be inversely proportional to sound practitioners’ waning interest in it? Does it really have to turn up on e-flux before people pay attention? Haven’t musicians, composers, and sound artists all over the world been thinking listening for centuries?… The contributors to Issue 2 face the immense material complexity of listening head on – physically, technically, formally, politically, socially. Their contributions continually orbit the question, ‘What is Listening?,’ all the while deftly dodging all ...
PublisherEar | Wave | Event2017
Art is, has always been, as Bersani suggests, a kind of alternative to “sex,” another mode of modulating the most intimate relation between soma and psyche. And the stakes of that “other” mode, those “other relational fields,” would be toward the articulation of forms of life divorced from the literal and symbolic traces of white hetero-sexist patriarchy. Our contention is that musicians such as Oliveros, as well as authors featured in this issue, have inherently understood and been working on this all along. The current political moment demands that we not only perpetually recall the radical orientation of “the experimental” ...
PublisherLateral Addition2014
Since the Autumn of 2012 we have been attempting to connect a variety of musical and conceptual work in which we feel strongly exists in, points towards, or employs an area that could be described as the liminal. We both feel that this is not something so easily defined, does not have to do with a particular kind of work, nor is a particular thing or perceptual understanding. Yet at the same time we feel that in some music or ideas this area becomes quite important- actually vital to the total experience- even if it is not to be directly ...
PublisherLateral Addition2013
Please read the following instructions before playback: The audio above is not the work but a means to facilitate the dynamic listening which you must perform. Throughout playback you must adjust the volume of your playback system in relation to the constantly shifting loudness of the audio track. The object of continual volume adjustment is to maintain as constant a resulting perceived volume as possible, despite continual changes of volume built into the track. Performance requires constant attention to the track’s loudness and simultaneous compensation in relation to its changes: – if the track gets louder, you must turn down playback volume; – if the ...

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