Ditzler’s recording blurs the lines between theory, aural ethnography, and critical intervention. Framed as an attempt to archive a site-specific “telling” of one queer-identified man’s history, it is in the recording’s failure to capture that telling as a “whole” (i.e., in ways that perpetuate the fantasy of unmediated access to the past by rendering the fact of recording invisible) that the piece’s queer potentialities emerge.
Articles by Andy Ditzler
\Andy Ditzler was trained as a percussionist at Indiana University and is a curator, performer, and composer living in Atlanta. He is a founding member of the idea collective John Q and recipient of a 2011 Artadia award. He has curated over one hundred twenty programs in the ongoing series Film Love, which presents historical avant-garde and experimental cinema to general audiences. As a musician, Ditzler has performed in contexts ranging from classical and jazz to free improvisation and rock. Ditzler released Closet Studies, his latest collection of songs, in 2011. In 2012 he revived the 1977 performance art work Desirium Probe by the New York artist James Nares. His work has been reviewed in publications and journals from The Huffington Post and Pitchfork to Art Papers, Public Art Review, and the Radical History Review (forthcoming). Currently he is a doctoral student in Interdisciplinary Studies and a George W. Woodruff Fellow in the Graduate Institute of Liberal Arts at Emory University. His writings on film may be found at the Film Love website.\