Michael Snow
(B. 1929 Toronto, Canada // D. Toronto, Canada, 2023)- Video Fields, 2015
- In the Way, 2011
- The corner of Braque and Picasso Streets, 2009
- Condensation-A Cove Story, 2008
- Puccini Conservato, 2008
- Reverberlin, 2007
- Triage_April 22 (with Carl Brown and John Kamevaar), 2005
- SSHTOORRTY, 2005
- Line drawing with Synapse, 2003
- Solar Breath (Northern Caryatids), 2002
- Corpus Callosum, 2002
- Prelude, 2000
- Sheeploop, 2000
- The living room, 2000
- La Ferme, 1998
- Place des peaux, 1998
- VUEEUV, 1998
- See you later / Au revoir, 1990
- Seated Figures, 1988
- So Is This, 1982
- Presents, 1981
- Hearing Aid, 1977-1976
- Cover to cover, 1975
- ‘Rameau´s Nephew’ by Diderot (Thanks to Dennis Young) by Wilma Schoen, 1974
- Two sides to every story, 1974
- Observer, 1974
- La Région Centrale, 1971
- Slidelength, 1969-1971
- Side Seat Paintings Slides Sound Film, 1970
- A casting shelved, 1970
- <--> (back and forth), 1969
- Sink, 1969
- Wavelength, 1967
- New York Eye and Ear Control, 1964
- Little walk, 1964
Hearing Aid, 1977-1976
Sound installation
Variable dimensions
ENG
Hearing Aid is a sound installation with an electrical metronome, four sound recordings of 90 minutes in cassette format and four tape recorders. it is a work recreated for every exhibition.
The tape recorders are arranged on the parquet. The sound of the metronome is recorded by the first one. This recording is played and recorded by the second tape recorder, which includes the recording of the metronome with the surrounding sounds already included in the first recording. This process is repeated on the third and fourth tape recorders. Thus, the spectator hears layered “past” sounds together with the constant present of the metronome.
CAST
Hearing Aid es una instalación de sonido con un metrónomo eléctrico, cuatro grabaciones de sonido de noventa minutos en formato cassette y cuatro grabadoras magnetofónicas: un trabajo para cada exposición.
Las grabadoras magnetofónicas están colocadas sobre parquet. El sonido del metrónomo se graba por la primera grabadora. Posteriormente la grabación suena y la registra la segunda, la cual incluye la grabación del primer metrónomo y los sonidos envolventes. Este proceso se repite con la tercera y cuarta grabadora magnetofónica. Por lo tanto, el espectador escucha capas de sonido “pasados” a la vez con la presencia constante del metrónomo.
Spacial distribution. First exhibition at The Kitchen, 1976.
Metronome
Tape recorder