Jul 29 2012
“The Sound of Hair”
Essay on Philip Brophy’s music and sound design in Philip Brophy: Hyper Material for Our Very Brain.
Brisbane, Institute of Modern Art, 2012.
In an age otherwise haunted by the spectre of plagiarism, the cultural obsession with pilfering, plundering, and re-designing what someone else has said reveals much about the obsequious, licentious, and promiscuous nature of sound itself. Who speaks? What matter who’s speaking? Someone said, what matter who’s speaking? Who said that? Sound, along with its gestural manifestations in space as text and its organisation in time as music, cannot be controlled as it circulates through the airwaves. Mishearing is the norm, communication the aberration. Sound is the ultimate bio-hazard, an oral/aural risk. Promiscuous and benignly indifferent to who receives it, blithely acquiescent to its uses and abuses, it curb crawls on the make, eager to be done over, again and again. Pale Glitter-Fat Sound? Innocence with big-hairy-gut-man rocking.
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