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(2014) The global sixties in sound and vision, Basingstoke, Palgrave Macmillan.
On the morning of November 23, 1968, Douglas Huebler sat on 42nd Street, taking pictures with his eyes closed. Having focused his lens on the Vanderbilt Avenue crosswalk, he shot ten photographs, each time tripping the shutter, as he archly put it, "at the instant that the sound of traffic approaching 42nd Street stopped enough to suggest that pedestrians could cross the street." The result, which Huebler flatly called Variable Piece #4, New York City, November, 1968, was suitably, if comically, dull: ten indifferent photographs of mid-town pedestrians (Figure 13.1). In keeping with Huebler's practice at the time, these images were exhibited in no particular order, together with a signed typescript coolly recounting the procedure.1
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Shannon, J. (2014)., Uninteresting pictures: art and technocracy, 1968, in T. Scott Brown & A. Lison (eds.), The global sixties in sound and vision, Basingstoke, Palgrave Macmillan, pp. 227-244.
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