In the early 1960s Michael Snow interrupted his promising career as a jazz musician in order to direct his interests fully on other artistic ventures. Soon later he came up with his first experimental movies which are still some of the most interesting positions in avantgarde filmmaking. Not coincidentally, parallel to the film pieces he began around 1970 to work around sound recordings. These less known pieces are a consequent continuation of the experiments with recording on an acoustic level. They are above all a scrutiny of the mediumspecific means of recording which apparently guarantee the authenticity of a work. Snow`s filmic and acoustic pieces challenge this anticipated authenticity of a technical recording in every detail. They evoke and yet again destabilize every production of meaning by means of irrationalities, repetitions or simply the duration of time. Those medial effects converge with the recipient`s activity of reception, so that the process of reception itself emerges as an unknown factor open for discourse.
The CD “Hearing Aid” with new productions by Michael Snow and his band CCMC is published as a catalogue on the occasion of the exhibition of Michael Snow’s Sound Works at Gallery Klosterfelde in Berlin (June 28th to September 20th 2002).
The Booklet contains a text by art historian Ariane Beyn in english and german.