Richard_Chartier-Set_or_Performance(Line_018)-2004-BCC
- Section
-
MP3/FLAC
- Group
- BCC
- Size
- 56,84 MB
- Files
- 3
- Date
- 2004-10-23
NFO
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░█ █+ Richard Chartier - Set Or Performance(Line_018) ▄ +█ █░
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░█ +█ Title : Set Or Performance(Line_018) ▀▀▀▄▄ ▀█░
░█ ░█ Artist : Richard Chartier ▀ ▓█ █░
░█▄ █ Genre : Electronic ░█ █░
░██ █ Year : 2004 █ ▄█░
░██ █ BCC Rel Date : Oct-21-2004 █ ██░
░██ █ Audio Bitrate : VBR kbps / Joint-Stereo █ ██░
░█ ▄▀ Sample Rate : 44.1 kHz Stereo █ ▀█░
░█ █▓ ▀ Encoder : Lame 3.90.3 APS █░ █░
░█▄ ▀▀▄▄▄ Tracks : 01 █+ █░
░█▀ ▄▄▀ Label : Line █▓ █░
░█ █▓ Ripped By : BCC Team ▓█ █░
░█ █+ Source : CDDA +█ █░
░█ █░ Length : 39:03 min ░█ █░
░█ █+ Size : 56,2 MB ▄█ █░
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░█ █░ 01.untitled [39:03] ░█ █░
░█ █░ ------- ░█ █░
░█ █░ 39:03 min ░█ █░
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░██ █ INFO: █ █░
░██ █ █ ██░
░██ █ . █ ██░
░██ █ LINE is proud to present Set . █ ██░
░██ █ or Performance, the first live . █ ██░
░██ █ performance documentation of . █ ██░
░██ █ Richard Chartier. Recorded to . █ ██░
░██ █ disc at the deep listening . █ ██░
░██ █ event series VOLT/AA, curated . █ ██░
░██ █ by Eric Mattson, co-curator of . █ ██░
░██ █ Mutek at SAT: La Societe des . █ ██░
░██ █ Arts et Technologiques in . █ ██░
░██ █ Montreal, Canada on December . █ ██░
░██ █ 9, 2003. . █ ██░
░██ █ . █ ██░
░██ █ "My live performance differs . █ ██░
░██ █ perhaps most significantly . █ ██░
░██ █ from my recorded work by . █ ██░
░██ █ virtue of an increased . █ ██░
░██ █ audibility and activity. The . █ ██░
░██ █ sounds used are selected from . █ ██░
░██ █ a collection of predesigned . █ ██░
░██ █ sounds, culled from past . █ ██░
░██ █ compositions and unreleased . █ ██░
░██ █ works but chosen with . █ ██░
░██ █ attention to the space and . █ ██░
░██ █ situation in which they will . █ ██░
░██ █ be presented as part of a new . █ ██░
░██ █ performative composition. In . █ ██░
░██ █ this sense, a live piece works . █ ██░
░██ █ to bring sounds into new and . █ ██░
░██ █ more immediately dynamic . █ ██░
░██ █ relations, creating a . █ ██░
░██ █ compositional outline within . █ ██░
░██ █ which a degree of space exists . █ ██░
░██ █ for immediate and on-site . █ ██░
░██ █ improvisational effects and . █ ██░
░██ █ reworkings. Because a live . █ ██░
░██ █ performance occurs at a . █ ██░
░██ █ slightly louder volume than . █ ██░
░██ █ recorded compositions, and . █ ██░
░██ █ even further pulls the . █ ██░
░██ █ attention of the audience . █ ██░
░██ █ specifically to the experience . █ ██░
░██ █ of sound and its physicality, . █ ██░
░██ █ performances are best suited . █ ██░
░██ █ to take place within spaces . █ ██░
░██ █ that encourage the listener to . █ ██░
░██ █ circumvent other sensorial . █ ██░
░██ █ input especially of the visual . █ ██░
░██ █ sort. Minus the impinging . █ ██░
░██ █ presence of visual cues and, . █ ██░
░██ █ as much as possible, other . █ ██░
░██ █ audio stimuli disconnected . █ ██░
░██ █ from the performance itself, a . █ ██░
░██ █ live presentation of my work . █ ██░
░██ █ methodically cultivates . █ ██░
░██ █ attention. It encourages a . █ ██░
░██ █ listening environment where . █ ██░
░██ █ auditors may focus intently . █ ██░
░██ █ upon their capacity for . █ ██░
░██ █ hearing the presentation of . █ ██░
░██ █ sound, within a context and . █ ██░
░██ █ frame distinct from the more . █ ██░
░██ █ routine forms and practices of . █ ██░
░██ █ listening. Numerous audience . █ ██░
░██ █ members have often noted over . █ ██░
░██ █ the past several years on the . █ ██░
░██ █ transportative nature of the . █ ██░
░██ █ performance/experience and . █ ██░
░██ █ that a distinct displacement . █ ██░
░██ █ in their experience of time . █ ██░
░██ █ occurs in which they are no . █ ██░
░██ █ longer cognisant of the . █ ██░
░██ █ duration of the actual . █ ██░
░██ █ performance." - Richard . █ ██░
░██ █ Chartier . █ ██░
░██ █ . █ ██░
░██ █ Richard Chartier (b.1971), . █ ██░
░██ █ sound/installation artist and . █ ██░
░██ █ graphic designer, has created . █ ██░
░██ █ critically acclaimed . █ ██░
░██ █ recordings for labels such as . █ ██░
░██ █ 12k/LINE (USA), Trente Oiseaux . █ ██░
░██ █ (Germany), Spekk (Japan), . █ ██░
░██ █ Mutek_rec (Canada), and Fallt . █ ██░
░██ █ (Ireland), including . █ ██░
░██ █ collaborations with artists . █ ██░
░██ █ Taylor Deupree, William . █ ██░
░██ █ Basinski, COH, and *0 and has . █ ██░
░██ █ appeared on numerous . █ ██░
░██ █ international compilations. . █ ██░
░██ █ His digital minimalist work . █ ██░
░██ █ explores the . █ ██░
░██ █ inter-relationships between . █ ██░
░██ █ the spatial nature of sound, . █ ██░
░██ █ silence, focus, and the act of . █ ██░
░██ █ listening. . █ ██░
░██ █ . █ ██░
░██ █ Chartier╣s sound works and . █ ██░
░██ █ sound installations have been . █ ██░
░██ █ presented internationally . █ ██░
░██ █ including at the exhibits . █ ██░
░██ █ Sounding Spaces at ICC (Tokyo, . █ ██░
░██ █ Japan), I Moderni / The . █ ██░
░██ █ Moderns at Castello di Rivoli . █ ██░
░██ █ (Torino, Italy), 2002 Biennial . █ ██░
░██ █ at the Whitney Museum of . █ ██░
░██ █ American Art (NY), Resynthesis . █ ██░
░██ █ at The Art Institute of . █ ██░
░██ █ Chicago and with the . █ ██░
░██ █ travelling sound exhibit . █ ██░
░██ █ Invisible Cities created by . █ ██░
░██ █ digital media curators Fehler . █ ██░
░██ █ as well as solo and . █ ██░
░██ █ collaborative installations . █ ██░
░██ █ for Fusebox (DC) and Diapason . █ ██░
░██ █ (NY). He has performed his . █ ██░
░██ █ work live across Europe, . █ ██░
░██ █ Japan, and North America at . █ ██░
░██ █ MUTEK (Montreal, Canada), DEAF . █ ██░
░██ █ (Dublin, Ireland), Observatori . █ ██░
░██ █ (Valencia, Spain), . █ ██░
░██ █ Transmediale (Berlin, . █ ██░
░██ █ Germany), Lovebytes . █ ██░
░██ █ (Sheffield, UK), The Leeds . █ ██░
░██ █ International Film Festival . █ ██░
░██ █ (Leeds,UK), The Rotterdam . █ ██░
░██ █ International Film Festival . █ ██░
░██ █ (NE), Garage (Stralsund, . █ ██░
░██ █ Germany) and other noted . █ ██░
░██ █ digital art/music festivals . █ ██░
░██ █ and at exhibits such as . █ ██░
░██ █ Frequenzen [Hz] at the Schirn . █ ██░
░██ █ Kunsthalle (Frankfurt) and A . █ ██░
░██ █ Minimal Future? Art as Object . █ ██░
░██ █ 1958-1968 at the Museum of . █ ██░
░██ █ Contemporary Art (Los . █ ██░
░██ █ Angeles). The conceptual . █ ██░
░██ █ performance piece . █ ██░
░██ █ │Chessmachine,▓ a multimedia . █ ██░
░██ █ collaborative work by . █ ██░
░██ █ Chartier, Ivan Pavlov and . █ ██░
░██ █ video/installation artists . █ ██░
░██ █ Evelyn Domnitch and Dmitry . █ ██░
░██ █ Gelfand recently premiered at . █ ██░
░██ █ the opening event of the 2004 . █ ██░
░██ █ MUTEK festival. . █ ██░
░██ █ . █ ██░
░██ █ In 2000 he formed the . █ ██░
░██ █ recording label LINE and has . █ ██░
░██ █ since curated its continuing . █ ██░
░██ █ documentation of compositional . █ ██░
░██ █ and installation work by . █ ██░
░██ █ international sound artists . █ ██░
░██ █ and composers exploring the . █ ██░
░██ █ aesthetics of contemporary and . █ ██░
░██ █ digital minimalism. The . █ ██░
░██ █ premiere release on LINE, . █ ██░
░██ █ Chartier╣s Series as awarded . █ ██░
░██ █ Honorable Mention in the . █ ██░
░██ █ category of Digital Music by . █ ██░
░██ █ the prestigious Prix Ars . █ ██░
░██ █ Electronica, 2001 (Austria). . █ ██░
░██ █ . █ ██░
░██ █ http://www.12k.com/line/ . █ ██░
░██ █ . █ ██░
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Files
| Path | Size |
|---|
| 00-richard_chartier-set_or_performance(line_018)-2004-back-bcc.jpg | 341,53 KB |
| 00-richard_chartier-set_or_performance(line_018)-2004-front-bcc.jpg | 321,60 KB |
| 01-richard_chartier-untitled-bcc.mp3 | 56,20 MB |