In our quest to lead the world into discernment and greater security, AmCor Inc Officers have been following, recording and carefully observing artists with practices relevant to our dealings. This week, we bring you insight into the act of listening in as an art medium, by interviewing sound artist Michael Trommer, whom we tracked through deeply wooded areas and urban jungles. After careful research, AmCor Inc was left with the lingering question of trust. Why should we believe what we hear? Why would Mr. Trommer withhold the visual, that most trustworthy of senses?
Please state (write) your full name and position/title.
Michael Trommer, Baron of Boysenberries and Lord of Lunchmeats.
Where do you reside at present?
How much have you had to drink?
Two double-espressos, about 5 litres of water, and a glass of fine Spanish Rioja.
Why are you interested in deception?
…because society is based on it.
AmCor Officers first encountered you deep in the woods near Banff where you were lurking with audio recording equipment. Who gave you authorization to make those recordings? Who did you intend to record and why?
I’m interested in the effect landscape has on propagated sound – the filtering effect of trees, reflective characteristics of mountains and lakes, etc., which can be heard quite clearly in Banff due to the relative absence of man-made noises. So, as far as recording goes, it’s actually more of a question of the lack of ‘who’. I was authorized by Peter von Tiesenhausen and have all the relevant documentation.
In your internet blog you claim sound as art and that you are supposedly a “sound artist.” A central tenent of AmCor theory is we must see first hand to believe. Why do you withhold the visual? How can we trust the result?
Sound is vibration, just like light. It’s just a matter of different positions on a continuum of frequency. I think that all senses are interrelated, in fact, and am very interested in fields like sensory ethnography, which acknowledge and explore the role of various senses in our apprehension of he world. Having said this, I do work with visuals pretty extensively…there are some examples here:
Re. trusting the result…mediated visuals are never to be ‘trusted’. As Werner Herzog puts it, even documentary cinema “reaches a merely superficial truth, the truth of accountants” . I think that in the best cases, however, the notion of trust can be made irrelevant.