Künstler-Audiokassette mit Ansagen des Künstlers aus: 100 Tapes, 1977.
Ergänzung zu dem Buch The Sound of Flight, privately printed, San Francisco, 1977. Essay by Thomas H.Garver. Design by Marioni. artists' audiocassette. 1977. From "100 Tapes" to accompany the book The Sound of Flight, privately printed, San Francisco, 1977. Essay by Thomas H.Garver. Design by Marioni.
One Second Sculpture, San Francisco, 1969
"In 1969 I made a kinetic sculpture called One Second Sculpture. It
contained many elements of my future sculpture pieces: sound, time,
action, writing, circle, line, and humor. It consisted of a metal tape
measure taken apart and thrown into the air. In one second, the instrument
flew open like a spring and made a loud sound (swak). It started out
as a wound - up circle in the hand. In the air, it opened - up and made
a calligraphic shape in space, trying to straighten itself out. It became
a straight line by the time it hit the ground". (T. M.)
Piss Piece, San Francisco, 1970 
Marioni after drinking beer all day pissed into a tub and "the sound
pitch went down as the water level went up". (T. M.)
Sunday Scottish Landscape, Edinburgh, 1972
"I bowed one continuous harmonic note (created by lightly touching the
string, approximately one-fifth the way down from the bridge, on a violin
at a point where the string is not vibrating.) This coninuous one-half-hour
sound and action created a semi-hypnotic state for me. My left eye was
covered to create a two dimensional image of the white rosin as it drifted
down from the string onto a piece of brown paper out to fit between
the body of the violin and its strings. This created for me a minaturized
misty landscape as seen from the air. This holding-pattern state was
a fantasy of flying. The paper had to be cut in such a way to be able
to slide between the neck and bridge of the violin. It appears that
the violin has wings, and that I am flying." (T. M.)
Drawing A Line As Far As I Can Reach Until The Pencil Is Used Up,
Edinburgh, 1972
The Creation: A Seven Day Performance. Basing his program on the Creation
story in Genesis, Marioni devoted each day to symbolically re-enacting
God`s actions in the Biblical account. On the third day - when "the
earth brought forth grass, and herb^Êand the tree yielding fruit" -
Marioni hung a sheet of brown wrapping paper low on the wall, seated
himself in the lotus position on the floor in front of it, and drew
vertical pencil lines as far up as he could reach - over a thousands
of them - until the pencil was consumed. "I was mimicking Nature in
trying to make a tree", Marioni says. "Only God makes nature and only
people make art. My intend was the action, but the result was an image
that resembled a tree". Marioni`s tallest tree was made later. For this
effort, he used a piece of paper that began on the floor and continued
up the wall. This piece had a sound component as well. A microphone
concealed at the baseboard, where the paper curved at the juncture of
floor and wall, amplified the sounds of his pencil strokes as they approached
and receded. "The effect was like the seashore, the ocean coming in,
and the waves going out," Marioni recalls.
Body Feedback, London, 1972
"The concussion created by the whipping and tearing of paper caused
an amplifying system to sound - feedback, suggesting screaming with
pain. I discovered during this action that if I moved my body between
the paper and the amplifier I could decrease or invrease the sound of
the feedback. This action was the aggressive half of a two part work.
The other was passive." (T. M.)
A Sculpture In 2/3 Times, Belgrade, 1974
" After polishing a smooth and reflective spot on an old rusted piece
of steel I moved a wooden drumstick back and forth across the spot.
On the underside of the spot was a contact microphone to amplify the
sounds of all activity on the surface of the metal. The pendulum - like
movement of the stick suggested a visual 1-2 rhythm, but the sound was
1-2-3 as in a waltz, because the stick moved from the rusted part of
the metal across the polished spot and to the rusted metal on the other
side. The sound superimposed on the action was 2 on 3." (T. M.)
Bird In Space, A Psychic Sculpture, Seattle, 1976
"I replaced all the lights with yellow bulbs to create an atmosphere
more conducive to telepathic communication. Drum Brushing. A reception
followed at the Comet Tavern with a videotape of my train trip from
San Francisco to Seattle." (T. M.)