Soundings by Gary Hill
This video shows the relationship between motion and sound.
“In Soundings, conceived by Hill as a work for broadcast, the found object of a loud speaker becomes the source for a sequence of image/sound/text constructs. A series of what Hill terms “processual rituals” ends with a text “from” the speaker, in which it describes its electronic, changing state as a relationship with the viewer. As Hill speaks about touch and sound in an extrapolated monologue, he buries the speaker in sand, drives a spike through it, sets it on fire and pours waters onto it.” 
“Soundings is a meditation on the phenomenology of sound, the translation of image into sound and sound into image through a series of experiments on an audio speaker. The speaker delivers sound both audibly and visibly, with the camera revealing the minute vibrations of the speaker’s cone. Referring to the cloth covering of the speaker as a ‘skin’, Hill intones, ‘This is the skin of space where I voice from’. The materialized voice is clearly an extension of the artist’s intention. Hill proceeds to bury, puncture, burn, and drown the audio speaker in an effort to physically alter or overwhelm the sound coming out of it, the sound of his own voice. Each carefully constructed experiment explores the confluence of sound, image, and text, suggesting a kind of concretized poetry or ‘electronic linguistics’.”
Mediations by Gary Hill
Mediations, (toward a remake of Soundings) Gary Hill, 1979-86, 4:17, color, sound
The videos of Gary Hill have consistently utilized his own writings and others’ texts to explore our confidence in this extension of the still photograph. In Mediations (toward a remake of Soundings) 79/86 he takes this genre to another level with a video image of a speaker being filled with sand while it tries to speak. The muffled words we hear—Hill’s own writing—are recorded coming from the increasingly dysfunctional speaker. In this piece the hands of the artist himself manipulate and distort our access to words he presumably needs us to hear. The image we see extends the meaning of his text, but it also creates a visual analog for the value of indirection and distraction in art.—Rod Slemmons, Museum of Contemporay Photography, Chicago, Il.
Milch by Carsten Nicolai
“the basis of milch (milk) is a series of experiments, which examine the relationship between order and disorder by means of a surface of liquid that is under the influence of different frequency-oscillations. in the test series, milk was exposed to sinus waves ranging from 10 to 150 hz. sound, almost imperceptible to the ear, appears in this test series as a permanently moving visual structure. herein the direct interrelation between acoustic signals and visual patterns becomes visible. lower frequencies make liquids start to move. dependent on the frequency, different patterns of movement appear. this complex phenomenon causes an interaction of regular and chaotic patterns that can also be compared with acoustic signal interference in a three-dimensional space.”
Down burn: Mary Lucier
Lucier’s seven channels of landscape video imagery record seven consecutive sunrises over the East River in New York. Aligning the horizon with the bottom edge of the television frame, Lucier videotaped the sun’s gradual elevation. As its luminosity grew to exceed the video camera’s tolerance level, the sun burned a spot in the camera tube. This left the camera’s tube, and the videotapes made with it, indelibly scarred. Lucier embraced this “flaw” for its lyricism and documentary quality.
The seven tapes are shown on seven monitors, each slightly larger than the one before, presented in an obelisk-like structure, emphasizing the efflorescence of light and suggesting a relationship between the video medium and environmental resources.