In a 24/7 world there is no greater challenge than “to be in command of one’s own time”. Is it true that the ability to download anything, at any moment, constitutes freedom? Has the ‘value’ of music, art and design been stripped bare? “I Google, therefore I am”... Touch MOVEMENTS has been compiled over the course of 3 years. It is a response to many requests for Touch ...(展开全部) In a 24/7 world there is no greater challenge than “to be in command of one’s own time”. Is it true that the ability to download anything, at any moment, constitutes freedom? Has the ‘value’ of music, art and design been stripped bare? “I Google, therefore I am”... Touch MOVEMENTS has been compiled over the course of 3 years. It is a response to many requests for Touch to publish a fuller account of Jon Wozencroft’s photography for the cover art of the project. The book follows the music, which was compiled step-by-step, like a jigsaw – there was not an “open call” to the artists, rather a sequential development which gives the CD a special narrative quality. And since our last Touch 30 compilation in 2012, the accuracy of the music has grown and rises to the challenge of what sound can do to transform perceptions about the immediate emotion of musical work and its more difficult, longer term evolution. Following Touch Folio 001 in 2015, this series is a dedication to finding new ways of audiovisual publishing, somewhere between the twin peaks of a jewel-cased CD and a lavish box-set. The two elements of sound and the visual work in parallel to create the idea of an “Ear-book”, whose interdependency reveals itself over time, and allows the richest of listening and viewing experiences. The music and the photography is fully annotated, alongside a rarely-seen manifesto by the Surrealist film-maker Jan Švankmajer which celebrates the spirit of the creative act.
0 有用 aegnkl 2018-01-15 16:38:56
阵容是亮瞎眼了，但是get不到这一张的点在哪
0 有用 aegnkl 2018-01-15 16:38:56
阵容是亮瞎眼了，但是get不到这一张的点在哪