%0 Thesis %A CHESWORTH, DAVID %D 2019 %T Why All The Noise? An exploration of auditory and durational encounters of four artworks at Dia:Beacon, New York State, USA; how these artworks and my practical research function as machinic systems of cinematic thought %U https://bridges.monash.edu/articles/thesis/Why_All_The_Noise_An_exploration_of_auditory_and_durational_encounters_of_four_artworks_at_Dia_Beacon_New_York_State_USA_how_these_artworks_and_my_practical_research_function_as_machinic_systems_of_cinematic_thought/5885332 %R 10.4225/03/5a89ffb438f80 %2 https://bridges.monash.edu/ndownloader/files/14404922 %K contemporary art %K duration %K post minimal %K post conceptual %K Robert Smithson %K Gerhard Richter %K Robert Ryman %K Max Neuhaus %K Dia Beacon %K durational framing %K haecceity %K sonic framing %K auditory framing %K experiencing artworks %K Art %X My research investigates sonic and durational experiences that formed a major part of my encounter with four artworks at Dia:Beacon, a large contemporary art museum in upstate New York that exhibits post-minimal/post-conceptual art by significant American and European artists. The four artworks are: Gerhard Richter '6 Gray Mirrors' (2003), Robert Ryman 'Installation at Dia:Beacon' (2010), Max Neuhaus 'Time Piece Beacon' (2005), and Robert Smithson 'Gravel Mirrors with Cracks and Dust' (1969). I explore concepts that elucidate how framed experiences of sound and duration (which I qualitatively endured), enabled experiential insights not readily available through spatial and visual modalities. %I Monash University