Memoryscape

It is completely viable to say that new technologies concerning GPS and other interactive media will begin to transform the place sound has in fine art. I particularly appreciate the Toby Butler's emphasis on noise regarding such technological evolution as not merely a "destruction of harmony", but an genuine exploration of modern noise-making tools. Butler noted one sound treatment where the artist took his audience on a trail to various locations to hear strange experiences of sound, in one case under a flyover. This is an interesting exploration of art outside the gallery, as many artists believe the unique sound experience should be something felt live and in context in order to be genuine; which makes me think of Russolo's statement about noise as something that cannot be replicated. I was less inclined with the use of sound as art in the oral history approach as it felt much less experimental than it was passive observation. That is, until it transformed into ideas about the changing evaluation of societies from being locally to globally conscious and breaking away from these ideas of "community". When Butler was discussing his own work, I found myself wondering why it was important that one's audience feels connected to the place in which they are experiencing the audio; putting aside his desire to create a live "surreal" experience, which I think can be done without the use of noise whatsoever. But the tools he notes are very exciting for the future of sound art.