Manufacturing the Thick Sound Hour (Notes)

Here I am showing all my cards, holding them up to the mirror of empty exhibitionism (for my own pleasure), trying to progress my thoughts by spitting them out into uncharted cyberspace (as uncharted = unread).

1. The beginning hours of the show (and by beginning hours I am talking about the first couple weeks as I am programmed for one episode per week) revolve around influences. I suspect much of DJ Spooky's Rhythm Science in early stages, because it brings some palatable sound scapes/beats to the forefront while interspersing historical sound work; it is already a clever remix. There will be some John Cage (no 4.33, sorry), perhaps interviews, I'm also interested in Roni Horn's Saying Water, although I'm not sure where that fits right now. Oh, it's kind of ridiculous to name names here... I basically wanted to mention Rhythm Science because it is within its spirit that I am pursuing this endeavor.

2. From here I hope to draw some narrative/form into the hour, and the "theme" I'm circling is the raw production of art. This moves the context of the show into two simultaneous threads: conversations on the production of art and the actual product of that production. In other words, the show on some level is about producing the show, but on another about making anything.

3. All music, songs, noise, interviews, everything will be thoroughly credited and accounted for (obvious, but just for the record).

4. One particular theme I'm interested in is "boundaries." The current for this show will revolve around how we find what we're up against as it pertains to the production of art. For this show I will be interviewing a U of I artist who cut a window into a fence.

5. Other themes I'm playing with: infinity, imaging, and ice.

6. As the show is being built from the bubbles of time, the resonating reverberations will congeal and the will of words will become solid before returning to air.