Richard Chartier – A Field for Mixing (2010, Room40, V0)

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Richard Chartier’s monochromatic aesthetic has come to define an audio culture surrounding minimalism. His craftsmanship, working predominately with sounds that exist at the edges of perception is a powerful, albeit subtle statement about notions of space and sound density.

With A Field for Mixing, Chartier brings the physicality of space directly into his compositional practise. Recording a variety of small and large spaces in countries from Australia through Japan and the USA, Chartier utilises the unique properties of these spaces to create a newly defined acoustic space – one that resonates with his characteristic treatments.

Dedicated to Steve Roden, the near 50-minute piece is an wholly engaging journey. It contracts and expands with a curious sense of depth that at times is utterly absorbing – drawing the listener deeper and deeper into the acoustic layers as one aspect is added and another withdrawn.

The second piece, "A Desk for Mixing" (dedicated to William Basinski), is equally measured. Based on his site-specific installation work “Mixing Desk," presented at the Montalvo Art Centre in 2006, this stereo rendering expands the themes on the installation into a gentle swelling ocean of post-ambiences and high frequency statics. Elegant and immersive.

Richard Chartier / Transparency (Performance) / LINE049 / 2011
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Artist: Richard Chartier
Title: Transparency (Performance)
Genre: Electronic
Year: 2011
Date: 05/2011
Bitrate: VBR kbps
Tracks: 01
Label: Line
Source: CDDA
Encoder: Lame 3.98.4
Length: 61:20 min
Size: 104,6 MB

01.Transparency (Performance) 61:20
61:20 min

Release Notes
In 2010, sound artist Richard Chartier
was awarded a Smithsonian Institution
Research Fellowship to explore the
National Museum of American History's
collection of 19th Century acoustic
apparatus for scientific demonstration.
Chartier focused on the works of the
German physicist Rudolf Koenig,
including the Grand Tonometer (c. 1870-
1875). This beautiful and precise set of
692 tuning forks expresses the frequency
range 520 v.s. (vibration simple) (260
hz) to 8192 v.s. (4096 hz). The pitches
of the forks extend over four octaves,
affording a perfect means for testing,
by enumeration of the beats, the number
of vibrations producing any given note.
The Grand Tonometer is the only
instrument of its kind in existence.
During his Fellowship, Chartier
individually recorded each of this
unique instrument's existing tuning
forks as well as many other instruments,
devices, and their tonal interactions.
Rudolph Koenig considered the Grand
Tonometer and his other creations to be
purely scientific instruments. His
precise workmanship extended the Grand
Tonometer's range to frequencies across
the field of human perception, thus
allowing the listener a chance to
witness the nature of sound itself.
Chartier's own compositions juxtapose
soft and hushed, almost imperceptible,
fragments with high and low frequencies,
bursts, and static in an asymptotic
process that cuts away from and deepens
the nature of sound, finally achieving
compositional focus in the spaces
between them. Chartier was particularly
drawn to the Grand Tonometer, feeling a
distinct connection to Koenig's approach
to sound, and to his aim of a new, or
enhanced, way of listening.
In a special live performance in the
Ring Auditorium at Hirshhorn Museum and
Sculpture Garden in Washington, DC on
October 7, 2010, Chartier premiered the
first version of a new work
"Transparency." This performance was
inspired in part by the Hirshhorn's
"ColorForms" exhibit, a collection of
works by artists including James
Turrell, Fred Sandback, and Olafur
Eliasson, showcasing the use of abstract
form to explore color's evocative
possibilities, from the purely optical
to the metaphysical. "Transparency" is
created from just some of the myriad
delicate recordings made during his
Fellowship of the Grand Tonometer, other
large tuning forks, metal and wooden
resonators, and wood organ pipes by
Koenig and his contemporaries.
In late 19th-Century Paris, scientific
instrument makers like Koenig were still
referred to as philosophical instrument
makers. It was possible for the public
to visit their studios for musical/sound
"sances" -- gatherings in which the
maker's tools and materials would be
presented for experiments and debate.
Perhaps "Transparency" can be seen, in
some ways, as a "sound sance" for a
digital age.
"Transparency (Performance)" is intended
as the first in a series of upcoming
studio and installation works based on
Chartier's Smithsonian Artist Research
Fellowship recordings.

njoy! teeth.gif
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БЕЗУМНО КРУТАЯ ТЕМА, но плиииз, наподдайте если у кого есть второй, более редкий Chessmachine:

Chessmachine [ Ivan Pavlov Against Richard Chartier ]

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+1 Chessmachine [ Ivan Pavlov Against Richard Chartier ] - Подтверждаю - это редкость. И тоже хочу cool.gif Salam
Re-Up Richard Chartier - Archival 1991 (2003) Please rolleyes.gif
Цитата: (brilliantuser)
Re-Up Richard Chartier - Archival 1991 (2003) Please  rolleyes.gif

Here mate you can download it again wink.gif

RICHARD CHARTIER - Archival 1991 (Crautonmusic, 2003)

All the best wink.gif
Есть у кого Direct.Incidental.Consequential Ed. 2? Залейте, плиз!

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Artist : Robert Curgenven and Richard Chartier
Title : Built Through
Genre : Ambient
Year : 2012
Date : 05/2012
Bitrate : VBR kbps
Tracks : 04
Catalog : LINE_056
Label : Line
Source : CDDA
Encoder : Lame 3.98.4
Length : 55:55 min
Size : 98,8 MB

01.Invariance Strata 13:45
02.Displacement 09:25
03.Built Through Both Sides 25:31
04.Acquisition Eviction 07:14
55:55 min

Release Notes:

1: Original composition “of surfaces–
variance” from 2002’s Of Surfaces
(LINE_008) by Chartier. Processed
through three improvisations for a 16
foot single manual pipe organ recorded
in West Penwith, Cornwall, August 2010.

2: Field recording by Curgenven from
Urunga, Australia, March 2010. Digitally
reprocessed/reworked by Chartier.
Further processing by Curgenven through
an improvisation for binaural
microphones, wine glasses, two
turntables and linear series dubplate,
recorded in London, October 2010.

3: Originally composed by Chartier at
Garage Festival in Stralsund, Germany
2004 and Paris, France 2005. Lost,
found, and reworked using digital means
and field recordings by Chartier in
2011. Processed through: guitar feedback
recorded by Curgenven in Milan and
London in 2010; turntables and linear
series dubplates recorded London 2011;
field recordings from Berlin, 2004-2007.
Mixed in London and Cornwall, November
2010-July 2011.

4: Original composition “series 6” from
2000’s Series (LINE_001) by Chartier.
Processed through a matrix of pieces for
nine turntables, linear dubplates and
ventilator, recorded in London, live in
Manchester and Budapest, September-
November 2010. Mixed at 4 The Field,
Nancledra, Cornwall, March 2011.

ifolder / unibytes / gigabase / share4web / turbobit
Мир круглый имеет форму чемодана.
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Lawrence English ‎– For/Not For John Cage FLAC

Label: Line – LINE_058
Format: CD, Album, Limited Edition
Country: US
Released: Sep 2012
Genre: Electronic, Classical
Style: Abstract, Drone, Minimal, Experimental
Codec: mp3-320
Size: 122 mb

Цитата: (therealJFK)

Lawrence English ‎– For/Not For John Cage FLAC

Почему это здесь? Это другой артист. Или я неправ?
Richard Chartier - Recurrence (2012) 320

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Richard Chartier - Recurrence (2012) FLAC

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Pinkcourtesyphone (Richard Chartier) - Elegant & Detached [Room40] [RM451] (2012)

V0,hf link

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79 ответов с 29.01.09 в 17:32
Назад в Electronic / Easy Listening