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Ralph Lichtensteigersound assemblage (March 10, 2007)

"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/


This audio is part of the collection: Open Source Audio

Artist/Composer: Ralph Lichtensteiger
Date: 2007-03-10
Keywords: avantgarde; experimental; electronic; microsound; noise

Creative Commons license: Attribution-Noncommercial-No Derivative Works 3.0

Notes

"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

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