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Charles Young Community Center |
| The voice, the most ephemeral yet expressive aspect of our daily actions, has presence in this project: presence in form of audio recordings. Transcriptions are standard manipulations of oral history recordings, or interviews generally, but the spoken word contains not only text but cadence, intonation, and inflection. These other attributes are not nontextual but rather contextual as they suffuse the expressed word with nuance and consequence. The text does not stand alone: it has a voice which gives it meaning and difference. Without this difference - without this aesthetic context - our identities more easily fracture from our thoughts. Thus transcriptions have expressive limits.
However, voice recordings have limits as well. The spoken word has a voice as well as space and a moment, which in a large degree are unrecordable. Audio recording specialists have jargon that well illustrates this predicament: a sample. A sample reflects the inability of an audio recording to capture the full range of expression. In short, samples are representations of a larger moment. What follows are simply samples of something much greater and unbounded.
a douglass park radio psa and program 1. Hansford Butler describes Douglass Park. 2. John Will Brown describes early events in Douglass Park. 3. John Will Brown describes Charles Young Community Center. 4. John Will Brown describes Lucy Estill. 5. John Will Brown describes Smoke Richardson's Orchestra. 6. Mrs. Audrey Grevious (former playground leader) describes play production in the parks. 6. A Play in Douglass Park, 1938 7. Super Sunday in Douglass Park 8. Unloading the Trolley at Douglass Park
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