voyageacoustiquethree Ralph Lichtensteiger audio opensource_audio "sound assemblage" [espace intermédiaire] with overlapping compositions by David Braden, Doyle Dean, Ralph Lichtensteiger, Lothar Reitz and Philip Schuessler. The assortment and montage of the material was implemented by Ralph Lichtensteiger with authorization by the composers. Although the composers David Braden, Doyle Dean, Lothar Reitz and Philip Schuessler are not responsible for the assembly of the material used in this montage. © 2007 by Ralph Lichtensteiger & musique trouve. All rights reserved. Unauthorized digital duplication is a violation of applicable laws. 00:00—02:30 Dancing Ears (Music for "4 Videos" 2005) by Ralph Lichtensteiger 01:32—07:55 Chomu (2005) by Lothar Reitz 05:33—10:05 Birdscape (2005) by Lothar Reitz 09:22—12:00 Goin' to the Zoo (2003) by David Braden 11:18—26:16 Broken Words (2005) by David Braden 15:42—17:47 Radioswitch #3 (2004) by Ralph Lichtensteiger 20:35—26:51 musique trouve xxiia (2001) by Ralph Lichtensteiger 26:06—28:12 Toy Piano LaLaLa #2 (2001) by Ralph Lichtensteiger 28:06—29:10 Eggshell Piece (2004) by Ralph Lichtensteiger 28:44—32:45 Portland (2004) by David Braden 30:38—35:58 Portland (2004) by David Braden 35:52—36:20 Harpsichord Scratch Piece (2004) by Ralph Lichtensteiger 36:15—41:09 Part II (2005) by Ralph Lichtensteiger 36:40—37:41 Improvisation 5a (2005) by Ralph Lichtensteiger & George Koehler 37:25—39:00 Marker Rhythm (2004) by Ralph Lichtensteiger 37:45—41:18 Double Bind Last "Paradoxical Communication" (A Taste for the Secret (with George Koehler, 2002) by Ralph Lichtensteiger 41:10—41:47 Part II (2005) by Ralph Lichtensteiger 42:19—43:21 Eggshell Piece (2004) by Ralph Lichtensteiger 43:01—51:11 Void Chapel (2004) by Philip Schuessler 50:36—52:03 Supplement (2002) by Ralph Lichtensteiger 51:36—53:44 Earth (2006) by Doyle Dean (Collaboration Project: "The Utility Project 1/33") 51:46—55:05 Supplement Collage (2002) by Ralph Lichtensteiger Void Chapel (2004) by Philip Schuessler for two-channel digital audio was composed at the Computer Music Studio of the State University of New York at Stony Brook. The piece establishes various taxonomies of sonic presence as main criteria of formal development. The clarity and “integrity” of some sounds contrasts other sounds of more diffuse quality, and the gap between these two types of sounds is widened in some parts of the piece while bridged in others. Void Chapel is dedicated to Kari Besharse. info Philip Schuessler http://www.societyofcomposers.org/user/philipt.schuessler.html David Braden, poet and sound artist, lives and works in Oakland, California. He has been published in the following on and off-line publications: Stone Country, Green Zero, SPIT, Blood Over Oil, Red Dancefloor, Protea Poetry Journal, The Gopherwood Review, Verve, etc. He is interested in experimental writing in general, and sound poetry in particular. info David Braden http://home.earthlink.net/%7Ebarleydog/WORDSOUNDCOMPOSITIONS.html http://www.lichtensteiger.de/braden_david.html info Lothar Reitz http://www.lichtensteiger.de/reitz_lothar.html info Doyle Dean http://www.utilityproject.net/ 2007-03-10 2007 avantgarde; experimental; electronic; microsound; noise http://creativecommons.org/licenses/by-nc-nd/3.0/ 2007-03-10 17:25:33 2007-03-10 17:25:03 lichtconlon@t-online.de lichtconlon lichtconlon 2007-03-10 17:36:18 2007-03-10 17:50:56 Ralph Lichtensteiger, David Braden, Lothar Reitz, Philip Schuessler, Doyle Dean 55:04 "The notion of post-Eisensteinian editing, with, for example, parallel montage (two things going on in different places at the same time, building suspense) is fundamentally opposed to film-as-duration (...). But the danger of such a concept is that it limits 'Eisensteinian editing' to the Eisenstein form of editing, as if that were mechanically applicable to any scenario, or film idea, or bit of film. It also does not take account of the strategies of editing in his early work Strike (1924) in which the techniques of montage (of collision) produced filmic montage-as-duration, the foregrounded setting up of artifice and form within structures not subsumed by narrative." — Peter Gidal, Materialist Film, London & New York 1989, p. 7 "The artist's world is limitless. It can be found everywhere, far from where he lives or a few feet away." — Paul Strand 2007-03-10 18:04:25 lichtconlon