Practice question · Multiple choice
Why is sound a curatorial problem before it is an aesthetic one in a group exhibition?
Hints
- Ask what a wall does for an object and what it fails to do for sound.
- A neighbouring work receives the sound whether or not it wanted it.
Show the answer
B. It does not respect the boundaries a wall establishes, so it enters neighbouring works uninvited
Why
Because a wall bounds an object and does not bound sound. A sound work is present in every neighbouring piece within earshot, so the decision about where to place it is a decision about other people's work: which makes it a curatorial question that has to be settled before any aesthetic one.
Practise Multidisciplinary Processes
The app has 4 more questions on this lesson, and keeps your place in the course. Sculpture I is free to start.
More questions on Multidisciplinary Processes
- Conservation of a code-based work is closer to emulation and migration than to cleaning and repair.
- Sort each cost by the medium that brings it.
- Which does digital fabrication actually change about sculptural practice?
- How many of the additions listed in this lesson bring an obsolescence problem measured in years rather than…
- Complete the account of multidisciplinary work.
- Match each medium to what it adds to a sculptural work.
- Arrange these stages of caring for a code-based work in order.
- Adding a medium such as light or movement brings a one-off installation cost but no ongoing obligation.
- Digital fabrication alters the iteration and scaling of three-dimensional form, but leaves material behaviour…