William Scott Williams

Fiction by William Scott Williams

Archive for LP

Adam Pendleton on Xaviera Simmons

New York artist Adam Pendleton on New York photographer Xaviera Simmons.

From Bomb Magazine Summer 2009:


Simmons, as an artist, doubles down. She captures the fiction/truth dialectic as well as anyone, dis-articulating assumptions about the quietly composed and staged images she makes. She’s a Brecht of the photographic endeavor. In her work, Simmons is not so much documenting the performance before the camera, but the performance itself. In one image from the series If We Believe in Theory, Simmons captures a young girl in the woods dressed like Little Red Riding Hood. It’s an example of Simmons using the suggestion of performance to capture the explicit and contradictory nature of individuality. Her subject becomes herself, and also a dismembered characterization of what we’re accustomed to look at. Still, it is not simply Simmons’s understanding of the imagistic theater of photography that is useful, but her way of using form to acknowledge that image is at the center of the creative construction of collective and personal histories. Simmons is a lexicographer who fuses live material and conceptual conceit; she deconstructs and retains a relation to specific times and places. Perhaps paradoxically, she often achieves this through unabashedly excessive detail, like in One Day and Back Then (Standing), where her character stands in a field of sea reeds in blackface, looking out at us, wearing all black (including stiletto boots), ready for a night out on the town.



Time Travel at 45-r.p.m.

Back in the Groove: Jazz Reissues on Vinyl – Fred Kaplan – The New York Times


“On standard-speed LPs, however, some grooves, especially those representing very quiet sounds, are so tiny and so tightly curved that no cartridge can track them perfectly. As a result fine details — the full shimmer of a cymbal, the vibrating wood of a bass, the sense of real people playing in a real space — get a little bit smeared.

But the grooves on a 45-r.p.m. LP are spread out more widely. Their undulations are much less sharp, so they’re easier to navigate. “The cartridge ferrets out a lot more low-level detail within the groove’s walls,” Mr. Hobson said. “It connects you a little more closely to the live music. We’re trying to do time traveling here.””


Read More: Back in the Groove: Jazz Reissues on Vinyl – Fred Kaplan – The New York Times