It was very time consuming because there were 18 stations. And because I'm working with stored and live sounds, it's not entirely predictable what we'll get, so we have to live within a certain range. Yet some issues still persist for Fontana after several years of working in sound art. There is a very simple paradox in my work, and I'm surprised this is still an issue after all these years. Simply, I saw it as the ability of sound to invisibly transform visual space.
People still expect objects with things that make sounds.
They still want to see something connected to it. I consider the visual element to be the space that the sound is in, and the mind space that it creates. The language of sound that I am working with is from the natural world. It's a language that makes you want to see. Alex Artaud is a sound engineer and writer living in Oakland, California .