Notes

[1] A gallery location is, of course, open to the public. And all of the locations I code as “public” are privately owned by Dartmouth, even though they are accessible to the general public. The distinction is meant mostly in regard to the audience’s mindset in encountering particular installations. Are visitors planning to enter the space to see or hear art? Or are individuals encountering art while they go about their day?

[2] The Hood Museum of Art was undergoing a renovation and expansion during this exhibition. While it was closed, the museum maintained a small gallery space in downtown Hanover that featured a series of exhibitions of global contemporary art. This was the main gallery for Resonant Spaces.

[3] One student responded, “I liked the one in the Bema the first time I heard it, but I grew to despise it the next time I went. It was a far less pleasant sound than the [ambient] sound of the Bema at night. I don't think all art ought to be pleasant, but this particular piece was in a public space and never turned off. In the context of [President] Hanlon’s plans to demolish those woods, the installation’s mechanical sound was wholly depressing. It ruined the Bema for me.” Student quoted in email from Kimberly Yu to Amelia Kahl, December 18, 2017.

[4] The piece consisted of five underground speakers, housed in oil drums, that each played a pure tone, a sine wave, between 90.0 and 90.4 MHz.

[5] Kirkegaard’s collaborators included geoscientist Jeffrey Moore and geophysics graduate student Paul Geimer from the Department of Geology and Geophysics at the University of Utah, who recorded the seismic vibration data used in Transmission, as well as Erik Stanfield.

[6] Email from Flora Cullen to Hood Museum, September 22, 2017.

[7] Susan Apel, “The Big-Bang—Hood Museum’s Resonant Spaces Opens,” Daily UV, https://dailyuv.com/feed/921898; Susan Apel, ”Visual Arts Preview: Resonant Spaces—Sound Art at Dartmouth’s Hood Museum,” The Arts Fuse, September 11, 2017, http://artsfuse.org/163224/visual-arts-preview-resonant-spaces-sound-art-at-dartmouths-hood-museum/; Susan Apel, “Experiencing Sound Art at Dartmouth,” The Woven Tale Press, October 23, 2017, http://www.thewoventalepress.net/2017/10/23/resonant-spaces-sound-art/; Susan Apel, “Make Music. Cider Donut Optional,” Daily UV, https://dailyuv.com/feed/922391.

[8] Christoph Cox, “Sound Art and the Sonic Unconscious,” Organised Sound 14, no. 1 (April 1, 2009): 19–26.

[9] Thanks to biological sciences faculty members Sharon Brickel, Michael Hoppa, and G. Eric Schaller.

[10] Gina Campanelli, email to Amelia Kahl, December 7, 2017.

[11] Pauline Oliveros, Deep Listening: A Composer’s Sound Practice (Troy, NY: Deep Listening Publications, 2005); Charles Olson, Collected Prose (Oakland: University of California Press, 1997); and Gaston Bachelard, The Poetics of Space (Paris: Presses Universitaires de France, 1958).

[12] Laura Graveline, email to Amelia Kahl, December 11, 2017.

[13] Terry Adkins, interviewed by Okwui Enwezor, “A Certain Kind of Luminescence: The Recitals of Terry Adkins,” in Terry Adkins Recital (Saratoga Springs, NY: Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2012), 221.

[14] Quoted in George E. Lewis, “The Sound of Terry Adkins,” in Terry Adkins Recital (Saratoga Springs, NY:  Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2012), 116.

[15] Terry Adkins, interviewed by Okwui Enwezor, “A Certain Kind of Luminescence: The Recitals of Terry Adkins,” in Terry Adkins Recital (Saratoga Springs, NY: Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2012), 220.

[16] Gina Campanelli, email to Amelia Kahl, December 7, 2017.