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“In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time.” — Charles Mingus
“Every time I write something, I have the impression of making a beginning . . .” — Jacques Derrida
NOISE, n. A stench in the ear. Undomesticated music. The chief product and authenticating sign of civilization. — Ambrose Bierce, The Devil's Dictionary
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Sound collage for John Cage [28:05] :: instruments: analog Tape Recorders operating at the same time, plus modified turntable · © 2008
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Listen :: voyageacoustique six :: Train Sonor · Piano (2008)
In rail transport, a train consists of rail vehicles that move along guides to transport freight or passengers from one place to another.
train of thought - the connections that link the various
parts of an event or argument together; “I couldn't follow his train
of thought”; “he lost the thread of his argument”
Internal monologue, also known as interior monologue, inner voice, internal
speech, train of thought, stream of thought, chain of thought or stream
of consciousness is thinking in words. It also refers to the semi-constant
internal monologue one has with oneself at a conscious or semi-conscious
level. ::: ::: ::: nycsubway #4 [10:17] · pianominimal #1 [04:46]
· organpattern #1 [02:46]
Keywords: avantgarde; experimental; electronic; microsound;
noise; minimal; piano
Inspiration: early minimal music [philip glass, music in twelve parts, 1971-1974];
javanese gamelan; gyorgy ligeti [continuum, 1968]; aka pygmy music [central
africa]; fela anikulapo-kuti [ransome-kuti & the africa 70, confusion/gentleman],
terry riley [shri camel, 1980]; alan sondheim [dervish2]; james m. drew
[almost stationary]; john cage [bacchanale for prepared piano, 1940]
“No repetition will ever exhaust the novelty of what comes. Even if one were able to imagine the contents of experience wholly repeated - always the same thing, the same person, the same landscape, the same place and the same text returning - the fact that the present is new would be enough to change everything. Temporalization itself makes it impossible not to be ingenuous in relation to time.”— Jacques Derrida and Maurizio Ferraris, A Taste for the Secret, p. 70
“And yet, O Lord, we perceive intervals of times, and we compare them with themselves, and we say some are longer, others shorter. We even measure by how much shorter or longer this time may be than that; and we answer, 'That this is double or treble, while that is but once, or only as much as that.' But we measure times passing when we measure them by perceiving them; but past times, which now are not, or future times, which as yet are not, who can measure them? Unless, perchance, any one will dare to say, that that can be measured which is not. When, therefore, time is passing, it can be perceived and measured; but when it has passed, it cannot, since it is not.” — The Confessions and Letters of St. Augustine, CHAP. XVI. TIME CAN ONLY BE PERCEIVED OR MEASURED WHILE IT IS PASSING.
new cd: sonorité sans mémoire IV
“The light. Its dimness. Its yellowness. Its omnipresence as though every separate square centimetre were agleam of the some twelve million of total surface.” — Samuel Beckett, The Lost Ones
ralph lichtensteiger, programming, soundprocessing :: saba tewelde, voice :: george koehler, e-guitar :: all compositions © 2007 by ralph lichtensteiger :: :: triadic · 37:16 :: citizen I · 02:58 :: deadalus · 15:11 :: citizen II · 08:50 :: fragmenté · 08:45 [free 192 kbps mp3 download] :: duration: 73:09 min :: limited edition of 50
:: :: ::
The
Beauty Of Found Music | with George Koehler · http://bit.ly/1Fizbu
New collaborative CD including sound pieces composed during my trip to Detroit
and New York/Brooklyn (usa). These sound investigations are dedicated to
John Cage :: :: :: check out “the golden age”, “lost phoenix”
and “listening for jesse glass #1” as free 192 kbps mp3 download
:: :: ::
“We are all born mad. Some remain so.” — Samuel Beckett, Waiting for Godot
1) new york drone [found in a bottle] 11:20
2) listening for jesse glass #1 [spongefork, ambient recordings] 04:17
3) gold vomit [george koehler e-guitar/zoom bfx-708 recordings] 09:15
4) the golden age [double bass, spongefork, ambient recordings] 11:18
5) versuch #12 [the anger of ghosts] [george koehler e-guitar] 10:13
6) listening for jesse glass #2 [spongefork, ambient recordings] 06:36
7) ghost dance #1 [george koehler e-guitar/zoom bfx-708 recordings] 03:01
8) lost phoenix [for paul glazier] 17:02
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Book Sonor #1, #2, #3 :: prints, notations and photographs, CD-Rs, “train sonor” pieces, field recordings, improvisations, non-arrival pieces, “this is not a composition” pieces, writings, poems, fragments (brocken), slides, links, drawings :: limited edition of three unique books including media, compositional concepts, and objects.
“In art it is difficult to say something which is just as good as saying nothing at all.” — Ludwig Wittgenstein (1889-1951)
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Gasoline © The Utility Project 2007
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Listen :: A Taste for the Secret was initially inspired by a series of dialogues between Jacques Derrida and Maurizio Ferraris.
The collaborative project was begun by Ralph Lichtensteiger and George Henry Koehler in October 2001. Due to unexpected difficulties in the process of composing and instrumentation, development was halted in late 2001. The material was put on ice, and only rediscovered in 2007. Seemingly irreconcilable contextual and aesthetic issues had averted the further development of this interesting conceptual sound journey. :: :: ::
When, in July 2007, we reviewed/revisited the “Taste for the Secret” folder, we discovered to our surprise that our response to this more-or-less abandoned 2001 material had changed radically with the passing of the years. Happy new ears! The interaction of the pieces, the instrumentation, as well as the musical significance at large, now seem fresh, more cohesive, and just perfect to us, the way we perceive it in 2007. And so, we deemed the project completed. We had achieved our goal without, at the time, realising it!
We therefore decided, on the spot, to share parts of this unexpected treasure with all of you. :: :: ::
“Leaving room for the other' does not mean 'I have to make room for the other'. The other is in me before me: the ego (even the collective ego) implies alterity as its own condition. There is no 'I' that ethically makes room for the other, but rather an 'I' that is structured by the alterity within it, an 'I' that is itself in a state of self-deconstruction, of dislocation.” - Jacques Derrida & Maurizio Ferraris, A Taste for the Secret, p. 84 [Translated from the French and Italian by Giacomo Donis, Polity Press Cambridge UK, 2001] ::: ::: :::
Listen :: voyageacoustique four :: Train Sonor [april, 2007] [26:49] :: sound map: double bass, ambient sounds, subway cars, subway gate sounds, subway announcer voice, trains, train arriving, street, cars, car horns, tunnel, voices, bells, birds, street festival drums, piccolo flute, piano cluster, percussive sounds, ambulance, rain, Max/MSP layers, Karlette VST (Tape Delay) plug-in. | images by Todd Weinstein | In rail transport, a train consists of rail vehicles that move along guides to transport freight or passengers from one place to another. | train of thought - the connections that link the various parts of an event or argument together; “I couldn't follow his train of thought”; “he lost the thread of his argument”. Internal monologue, also known as interior monologue, inner voice, internal speech, train of thought, stream of thought, chain of thought or stream of consciousness is thinking in words. It also refers to the semi-constant internal monologue one has with oneself at a conscious or semi-conscious level. Possible simultaneity with Argonauts part XVII (composition “essay one”, 2006-07) and/or Six Instruments (1985-86).
“God: noise in the street: very peripatetic. Space: what you damn well have to see. Through spaces smaller than red globules of man's blood they creepycrawl after Blake's buttocks into eternity of which this vegetable world is but a shadow. Hold to the now, the here, through which all future plunges to the past.” — James Joyce, Ulysses [Episode 9 - Scylla And Charybdis]
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Train Sonor [Self-Portrait] weaving and unweaving* [2007]
Train Sonor CD Cover · Limited release CD-R · download pdf
1. Prelude - The Beauty of Ruins [19:33] · part one: guitar patterns, ambient recordings [suburb], birdsong, percussion frog, elecronics, Spongefork 3, GarageBand 2.0.2 (50) :: part two: percussion [glass], percussion frog, CellSynth 1.7, MetaSynth 4.0, fLOW 2.0,
2. Chant - a) Purification b) Negotiations and Discourse [39:25] · voices, shell crunch noise, ambient recordings [suburb], Karlette VST (Tape Delay), Max/MSP layers
3. Final Notes [03:57] · gong, Spongefork 3, birdsong, ambient recordings [suburb]
* As we, or mother Dana, weave and unweave our bodies, Stephen said, from day to day, their molecules shuttled to and fro, so does the artist weave and unweave his image. — James Joyce, Ulysses, Shakespeare and Company, 1922 (Penguin edition 1992, reprinted 2000, ISBN 0 14 118280 6), page 249 [Episode 9 - Scylla And Charybdis]
** The beauty of ruins? That they're no longer good for anything. The sweetness of the past? Our memory of it, since to remember it is to make it present, and it isn't present nor even can be - absurdity, my love, absurdity. — Fernando Pessoa, The Book of Disquiet, p. 278
*** In everyday language the word 'poetic' is now surrounded
by a fog of misunderstandings. Hence, by reaction, the instinctive distrust
of all such cliches as 'poet of sounds' and 'poetic music'. We must overcome
this handicap, eliminate the element of the picturesque (to which the idea
of 'poetry' has quite wrongly been restricted) and set out to discover the
idea. — Pierre Boulez, Poetry - Centre and Absence - Music. In: Orientations,
p. 184
instruments, source of sound: 1. Prelude - The Beauty of Ruins [19:33] ::
:: :: part one: guitar patterns, ambient recordings [suburb], birdsong,
percussion frog, elecronics, Spongefork 3, GarageBand 2.0.2 (50) :: part
two: percussion [glass], percussion frog, CellSynth 1.7, MetaSynth 4.0,
fLOW 2.0, :: :: :: 2. Chant - a) Purification b) Negotiations and Discourse
[39:25] voices, shell crunch noise, ambient recordings [suburb], Karlette
VST (Tape Delay), Max/MSP layers :: :: :: 3. Final Notes [03:57] gong, Spongefork
3, birdsong, ambient recordings [suburb]
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archive.org :: voyageacoustiquefive :: Sirens [Train Sonor] [26:53] [may 2007]
“compendium of shreds” :: field recordings — rain, water, wind, thunderstorm, found noise :: flow tracks, Max/MSP :: Spongefork_3_2_2 tracks :: piano :: prepared piano :: voices :: Sirens is affected by James Joyce's Ulysses, Episode 11 - Sirens | Possible simultaneity with voyageacoustique four :: Train Sonor (2007) and/or Argonauts part XIX (composition “essay two”, 2006-07) :: sirens gallery :: :: :: aural diagram [by Peter Lichtensteiger] :: Sirens at archive.org :: voyageacoustiquefive
“BRONZE BY GOLD HEARD THE HOOFIRONS, STEELYRINING
IMPERthnthn thnthnthn.
Chips, picking chips off rocky thumbnail, chips. Horrid! And gold flushed
more.
A husky fifenote blew.
Blew. Blue bloom is on the
Gold pinnacled hair.
A jumping rose on satiny breasts of satin, rose of Castille.
Trilling, trilling: I dolores.
Peep! Who's in the... peepofgold?
Tink cried to bronze in pity.
And a call, pure, long and throbbing. Longindying call.
Decoy. Soft word. But look! The bright stars fade. O rose! Notes chirruping
answer. Castille. The morn is breaking.
Jingle jingle jaunted jingling.
Coin rang. Clock clacked.
Avowal. Sonnez. I could. Rebound of garter. Not leave thee. Smack. La cloche!
Thigh smack. Avowal. Warm. Sweetheart, goodbye!
Jingle. Bloo.
Boomed crashing chords. When love absorbs. War! War! The tympanum.
A sail! A veil awave upon the waves.
Lost. Throstle fluted. All is lost now.
Horn. Hawhorn.
When first he saw. Alas!
Full tup. Full throb.
Warbling. Ah, lure! Alluring.
Martha! Come!
Clapclop. Clipclap. Clappyclap.
Goodgod henev erheard inall.
Deaf bald Pat brought pad knife took up.
A moonlight nightcall: far: far.
I feel so sad. P. S. So lonely blooming.
Listen! [...]” — James Joyce, Ulysses [Episode 11 - Sirens]
“Numbers it is. All music when you come to think. Two multiplied by two divided by half is twice one. Vibrations: chords those are. One plus two plus six is seven. Do anything you like with figures juggling. Always find out this equal to that, symmetry under a cemetery wall. He doesn't see my mourning. Callous: all for his own gut. Musemathematics. And you think you're listening to the ethereal. But suppose you said it like: Martha, seven times nine minus x is thirtyfive thousand. Fall quite flat. It's on account of the sounds it is.” — James Joyce, Ulysses [Episode 11 - Sirens]
Odysseus heard their lovely song. For he, following Circe's instructions, stopped the ears of his comrades with beeswax, and ordered that he should himself be bound to the mast, so that he could hear the voices of the SIRENS, who then sang: “Draw near ... illustrious Odysseus, flower of the Achaean chivalry, and bring your ship to rest that you may hear our voices. No seaman ever sailed his black ship past this place without listening to the sweet voice that flow from our lips, and none that listened has not been delighted and gone on a wiser man. For we know all that the Achaeans and Trojans sufferer on the broad plain of Troy by the will of the gods, and we have foreknowledge of all that is going to happen on this fruitful earth.” [The SIRENS to Odysseus. Homer, Odyssey 12.184]
millimeters [part I, 09:19]* for prepared acoustic guitar, Spongefork_3_2_2 interface** [live electronics] and gurgle shells
* (the sensation of slight things) “But it is the subtlest sensations of the slightest things that I live intensely. Perhaps this is due to my love of futility. Or maybe it's because of my concern for detail. But I'm inclined to believe — I can't say I know, for these are things I never bother to analyse — that it's because slight things, having absolutely no social or practical importance, are for that very reason absolutely free of sordid associations with reality. Slight things smack to me of unreality. The usless is beautiful because it's less real than the useful, which continues and extends, whereas the marvellously futile and the gloriously minuscule stay where and as they are, living freely and independently. The usless and the futile open up humbly aesthetic interludes in our real lives. What dreams and fond delights are stirred in my soul by the puny existence of a pin in a ribbon! What a pity for those who don't realize how important this is!” — Fernando Pessoa, The Book of Disquiet, p. 436
** Spongefork is a complete softsynth, sampler, live improvisation instrument, and soundfile processing application. The 2.* series has been completely rewritten to provide many new features and native Mac OS X support. SF's oscillators and interface are controllable via a unique XY based modulation controller, your computer keyboard, or by any MIDI device or application. ::: ::: :::
work in progress :: Collaboration with George Koehler [acoustic guitar and prepared acoustic guitar] | Ralph Li [percussion, Max/MSP, software instruments, Spongefork_3_2_2 interface*, live electronics] :: J & H blueprint :: in a clockwork :: intimacy :: distance :: nocturne I & II :: Inannis I. | Composition by Ralph Lichtensteiger & George Koehler | © 2007 by musique trouvé.
* Spongefork is a complete softsynth, sampler, live improvisation instrument, and soundfile processing application. The 2.* series has been completely rewritten to provide many new features and native Mac OS X support. SF's oscillators and interface are controllable via a unique XY based modulation controller, your computer keyboard, or by any MIDI device or application. ::: ::: :::
Listen :: voyageacoustique three :: “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. [Run time: 00:55:04]
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.
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.
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Listen :: voyageacoustique two :: The Music of James M. Drew (2007) archive.org :: Montage by Ralph Lichtensteiger :: “The Flow of Musically Experienced Time” | This James M. Drew podcast track is a montage presenting excerpts of James M. Drew's rich musical ceration. The assortment and montage of the material was implemented by Ralph Lichtensteiger with authorization by the composer James M. Drew. Although the composer James M. Drew is not responsible for the assembly of the material used in this podcast. © 2007 by Ralph Lichtensteiger & James M. Drew. All rights reserved. [Run time: 00:37:44]
Listen :: voyageacoustique one :: Music for Merce Cunningham I (2000) archive.org :: “Music for Merce Cunningham I” composed in 2000 for double bass (bowed and plucked) and live-tape with pre-recorded seep, dropping water sounds, marker (felt tip pen) sounds, and (mirror reflex) camera release sounds. The piece represents a “sound track“ for an imaginary dance choreography. I see the stage in clear, bright light. No dramatic turnarounds, no expressivity, no impatience, just sound, light, motion and independency. [Run time: 00:33:53]
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new CD :: argonauts | klangschiff [6 CDs] :: prologue one [26'54''] and prologue two [24'08''] | epilogue [coda] [30'06''] (2006) for two clarinets, strings and notebook (tapemachine) | argonauts four [excerpt] [03'45''] | Clarinet I motif [excerpt] [03'58''] | The heroes who sailed with JASON on the ship Argo in quest of the Golden Fleece. Homer (Odyssey 12.69-72) © 2006 by musique trouvé | argonauts is affected by Fernando Pessoa's The Book of Disquiet (1998) and by Michel Foucault's volume The Order of Things (1966), Of Other Spaces (1967), and Heterotopias (1966).
ARGONAUTS | time structure for [30'06''] epilogue [coda] (2006) for two clarinets, strings and notebook (tapemachine)
[epilogue is part of ARGONAUTS]
argonauts # two | klangschiff | LISTEN :: non arrival three [06'58'']
CD | musique trouvé
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espace sonorité archive [...]
2006
Listen :: mirrors/flipside
I & II | 68'36'' for A.S. | 75'34'' for A.C. | Sonorous reflection/meditation
in two parts. Part one is dedicated to the poet and media artist Alan Sondheim,
part two is dedicated to the composer Alvin Curran | 2-CD set
Ralph Lichtensteiger : modified piano, percussion instruments, cardboard tubes, double bass, turntable, drone electronics, software instruments and environment sound treatment | Disc 1, Inscribed material : Sound8 file [46'20'' to 55'18''] by Alan Sondheim | Disc 2, Inscribed material : “voice clip” by Alvin Curran | Digital piano recording : January 2005 (Roland RD-150) | Percussion recordings : Nov. 2004 and Feb. 2006 | Digital environment recordings : August 2000, April 2002 & July 2004 via Sony DAT-Recorder (ZA5ES) | Analog subway and street recordings : New York City & Brooklyn, March 23-24, 2006 | Realization/Software : Digidesign® Pro Tools® HD 7 · GarageBand 2.0.2 (50) · fLOW 2.0, ambient sound generator by Dr. Karlheinz Essl · Spongefork 3.1.3 · Max MSP 4.3 (Cycling ’74) | Limited release, Edition of 50 CD’s | recommended/possible method of listening : use two devices (cd-player) for playing the two compact discs SIMULTANEOUSLY :: mirrors/flipside I & II |
2006
“...if every single thing works for me I feel it is nothing.” — Francis Bacon
“In any event this book was terribly daring. A transparent sheet separates it from madness.” — James Joyce, speaking of Ulysses
“The artist's world is limitless. It can be found everywhere, far from where he lives or a few feet away.” — Paul Strand
“To be able to empty your head—I love that. That's why I like fishing. When I'm standing out there up to my nipples in the Gulf of Mexico and I have some fish bait, there's always the possibility of the unexpected. And while I'm waiting for the unexpected—that fish that rarely comes by, a rogue fish that went crazy and left the school—the 'noncatching' of the fish becomes the focus. It opens my head up and thoughts can 'unpurposefully' swim through my brain.” — Robert Rauschenberg, An Interview with Robert Rauschenberg by Barbara Rose, New York, 1987, p. 59-60
“It's not easy to improvise, it's the most difficult thing to do. Even when one improvises in front of a camera or microphone, one ventriloquizes or leaves another to speak in one's place the schemas and languages that are already there. There are already a great number of prescriptions that are prescribed in our memory and in our culture. All the names are already preprogrammed. It's already the names that inhibit our ability to ever really improvise.” — Jacques Derrida, Screenplay and Essays on the Film Derrida by Kirby Dick and Amy Ziering Kofman, Routledge, New York 2005 [92:93]
fear of writing (Tapemusic) | one, two, three
2005
Two Places (for Matthew Rogalsky) | Part one: For one or two pianos, environment
sounds and spare percussion | Part two: For one or two pianos and Rogalsky's
FontanaNet (2002) sounds arranged by Ralph Lichtensteiger | Realization
with two tape-machines and/or two DAT-recorders | CD | (score fragments)
| Two Places (for Matthew Rogalsky): Ein Ort ist immer auch gerade da wo
man sich nicht befindet. Der Medienkünstler Matt Rogalsky hatte mir
eine Aufnahme seiner Network-Realisation von Cage's FontanaMix geschickt,
und mir erlaubt mit dieser Aufnahme “etwas” zu machen (zweiter
Teil von Two Places). Im ersten Teil verwende ich recordings aus meiner
direkten Umgebung und sehr sparsame percussive Klänge und einen Klavierpart.
Räumliche Distanz und die Idee einer Musik die diese abbildet hat mich
zu dieser Arbeit gebracht. “Musical topography of two places. No-place,
loss of a place, dispossession. To be out of place or act in place of.”
Part II · piano & FontanaNet sounds [5:49]
[excerpt]
see sonoloco: CD-Review of “Two Places” by Ingvar Loco Nordin
sonoloco CD-Review of “Two Places” by Ingvar Loco Nordin as
Acrobat Reader file (.pdf)
silence | silence (for Jacques Derrida) for female voice, two tape machines
(with digital sound material) and prepared pedal harmonium | CD (in preparation)
Saba Tewelde reading and singing my poem silence | silence for [Jacques Derrida]. © 2007 by musique trouvé.
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sonorité sans mémoire I | voyage acoustique (one) (2005) | CD | commencer · démarrage 5'02'' · retour · attardé 11'34'' · ordre · désordre 4'12'' · voyage acoustique 20'11'' · danse · chanson enfantine 7'35'' · paysage musicaux [extérieur] 29'19'' · TT 77'55'' | Auch hier spielt der Raum (im Sinne einer Landschaft (paysage musicaux, extérieur) eine Rolle. Aber auch die Begriffe Ordnung/Unordnung, Leicht/Schwer und Reise (voyage acoustique) haben mich hier geleitet. Arbeit mit Klängen meiner Umgebung. In “paysage musicaux [extérieur]” (Track 6, 29'19'' min) wurde das Software-Instrument FontanaMixer 1.0 (generative sound environment) von Dr. Karlheinz Essl verwendet. Gefüttert habe ich ihn mit Stimmen, double dass Klängen, elektronischen Klängen, digitalen drum beat Fragmenten, Tierstimmen und mehr... Der zweite und dritte Teil von “paysage musicaux” ist noch in Arbeit.
“As if memory were a sort of filter, another editing process. In fact the editing is going on all the time. Images are always being created and transformed . . . I think memory is as much about the future as it is about the past . . .” — Bill Viola, Video Art, Sense Perception and Human Experience | Vortrag im Rahmen der Vorlesungsreihe Iconic Turn an der Ludwig-Maximilians-Universität München
“A voyage ordinarily implies that one leaves a familiar shore to confront the unknown. [...] In fact the very thing one always expects of a voyage is that it will deliver 'the other'—the unexpected, a type of defamiliarization if not adventure or exoticism. [...] The event that abducts the traveler's identity and allows an opening to alterity to become experience of the world in general must occur by surprise and remain incalculable. But since this event is the condition of possibility of any authentic voyage, it obeys a type of programmed chance.” — Catherine Malabou and Jacques Derrida, Counterpath : Traveling with Jacques Derrida, Perface, p. 2
“In one way or another the Western traveler always follows in the steps of Ulysses. [...] It is as if, according to what is a paradox in appearance only, the voyage that is the Odyssey signified in the first instance the possibility of returning home [...].” — Catherine Malabou and Jacques Derrida, Counterpath : Traveling with Jacques Derrida, Perface, p. 4
sonorité sans mémoire II | voyage acoustique (two) (2005) | CD | écriture chiffrée I · for James Drew 21'26'' · écriture chiffrée II · respiration 20'57'' · dérivation · exploration I 10'23'' · dérivation · exploration II 8'00'' · non-arrival · rappeler 6'29'' · improvisation · relations 8'53'' · TT 76'10'' | L’archéologie sonorité. Non-arrival, écriture chiffrée. Coquillage et crypte. Dissociation, consonance, dépolarisation. Espacement, espace intermédiaire, interspace. Dérivation and exploration, the process continues. Tranquillité, mémoires sonorité. Paysage musicaux, bêler.
non-arrival · rappeler : [Try to play a piece of music which follows no direction, which has no syntax, no logical structure, no romanticism, no drama. Use sound and silence as equal elements.]
“Non-arrival is unpresentable; even if it were to arrive or occur, it wouldn't present anything. Non-arrival doesn't refer to a not yet realized, or not yet real or present, possibility. It always remains what it is: possible and in this way, unanticipatable.” — Catherine Malabou and Jacques Derrida, Counterpath : Traveling with Jacques Derrida, Perface, p. 150
improvisation · relations : [Two streams, process one, process two. Pattern one, pattern two : moiré effect. Coherence, interrelation, to be linked.]
sonorité sans mémoire III | voyage acoustique (three) (2005) | CD | écriture chiffrée III · the enigma of arrival 10'24'' · paysage musicaux · décharge 12'51'' · écriture chiffrée IIIa · étude 8'27'' · dérivation · exploration III 8'54'' · apples · trancher · for J.-C. Risset 18'01'' · paysage musicaux · bêler 15'49'' · TT 74'28''
“Music is for human communication; and our chief novelty in this respect today has been in extending the range of sounds (including electronic sounds) which we make available to musical intention.” — Robert Donington, Music and its Instruments
paysage musicaux · décharge : [discharge,
removal, electrostatic discharge]
apples · trancher · for J.-C. Risset : [Max MSP 4.3/Cycling
’74]
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Thirty-Six Soundscapes (for Todd Weinstein) | Part I & II
1) the storyteller · untitled #1 · tox loop · type loop · dark matter · deep organ · gloria · low · les jours du kippour singing
2) golem · pilgrim cologne · bass loop
#2 · element #3 · open window #1 · piano hall #1&4
· noise loop #1 · violin collage
Ralph Lichtensteiger : piano, percussion, gong, cymbals, double bass, software
instruments, modified violin, turntable, tape machines, electronics, programming,
Max /MSP (traffic noise)
civa.org : Talmud : The Art Of Ben Zion And Marc Chagall | “CIVA is now accepting bookings for this exhibition of eighteen intaglio prints by Ben-Zion (framed size: 24“ X 28“) and twenty-four color lithographs by Marc Chagall (framed size: 18“ X 24“) on Biblical subjects - forty-four works including title covers. (...) Ben-Zion. Reared by his father for the rabbinate, Ben-Zion Weiman came from Poland to America in 1920. After turning to art (and shortening his name), he became a founding member of The Ten, the 1930's avant-garde group, with Ilya Bolotowsky, Lee Gatch, Adolph Gottleib, Mark Rothko, and others.”
The Storyteller [excerpt] [02:22]
toddweinstein.com/benzionDVD : QuickTime movie excerpt from DVD | Ben-Zion: In Search of Oneself | Production of a educational DVD Biography spanning the life of the artist Ben-Zion (1897-1987). To be included in the exhibition at The Mitchell Gallery at St. James Collage in Annapolis, MD.
visit the website of new york city based photographer Todd Weinstein : toddweinstein.com [Website design & concept by Ralph Lichtensteiger] | “...todd weinstein's career has been filled with both artistic and commercial success. artistically, todd's photos have been seen in galleries in the united states and europe and collected by museums, including fotomuseum winterthur, switzerland, new york public library, and the holocaust memorial center in farmington hills, michigan...” | Please read Todd's personal narrative
“There are not less than 36 tzaddikim/righteous persons in the world who receive the Shekhinah/the Divine Presence” — B.T. Sanhedrin 97b, Sukkot 45b
Collaboration TW/RL: the—36—unknown—revisited—photography—sound—installation.
“Exhibiting my project 'The 36 Unknown' has inspired many people in many different ways. I wanted to continue my project and make it more a collabratation with other artist. Ralph Lichtensteiger is a composer who's music is complementary to my project. The music is adding sound colors and textures drawing the audience in. The use of sound and images together can create overtones for imagination.”— Todd Weinstein
::: ::: :::
Music for Video [DVD] | Dancing Ears · Formless · Jozan · Sudden Shower [...] | GALATEA RESURRECTS (A Poetry Review, Editor: Eileen Tabios) | JESSE GLASS reviews : 4 VIDEOS BY RALPH LICHTENSTEIGER | With screen shots from the DVD!
non arrival/improvisations [Miniatures II] | non arrival two · non arrival three · beler drone · beler two · impossible improvisations (Part II) · [Try to play a piece of music which follows no direction, which has no syntax, no logical structure, no romanticism, no drama. Use sound and silence as equal elements.]
Tapemusic | one [...] | sound collage (2005/6)
2004
Beginnings (part I) | What is a beginning? What must one do in order to
begin? Beginning is not only a kind of action; it is also a frame of mind,
a kind of work, an attitude, a consciousness. | CD | part II (in preparation)
Société subsonic (for Wolfram Kiepe) | pour l'exploitation du vocabulaire “Hörspiel” in two parts
Desfrag
Two pieces for elec. organ
Le langage de l'espace (part I) | CD | “Ghosts? The anger of ghosts - I believe there is such an anger, if only in ourselves, and it's the most terrible anger because we cannot respond, or they cannot respond to our response.” — Jacques Derrida
Musik für Schlagzeug, Klavier, Elektronik und Tonband | CD | “Misstöne: gellen, gröhlen, janken, jaulen, johlen, kläffen, klappern, klirren, knarren, knirschen, krächzen, kreischen, piepsen, plärren, quäken, quaken, quiek(s)en, quitschen, rasseln, reiben, schaben, schettern, schlagen, schnarren, schnarchen, schreien, schrillen, zischen, brummen, flöten, flüstern, keuchen, niesen, rascheln, rauschen, sausen, säuseln, schnalzen, schnaufen, schnorcheln, schnüffeln, schnuppern, schwirren, sirren, summen, sumsen, surren, zischeln, zischen, zirpen. Missklang: dissonieren, misstönen, das Ohr beleidigen, verletzen, geht durch Mark und Bein, ächzen, brüllen, detonieren, gröhlen, jaulen, johlen, knödeln, knautschen, krächzen, leiern, missklingen, misstönen, orgeln, piepsen, plärren, quietschen, molieren, duddeln, klimpern, die Saiten, die Tasten maltretieren, ausrutschen, daneben greifen, sich vergreifen, falsch spielen, überschnappen, atonal, falsch, futuristisch, melodiearm, melodielos, stimmlos, taktwidrig, unharmonisch, unmelodisch, unmusikalisch, unrein, verzerrt, zu hoch, zu tief, ohrenzerreissend, Tonverwirrung.” — Franz Dornseiff, Der Deutsche Wortschatz nach Sachgruppen, 1943
Montmajour | Acoustic installation for the Abbaye de Montmajour, Route de Fontvieille, 13200 Arles (France) | CD | Montmajour ist eine Auswahl von Klangbildern die ich unter dem Eindruck eines Besuchs in dieser Anlage Abbaye de Montmajour bei Arles hatte. Ich stellte mir eine Organisation von mehreren Klangquellen in den verschiedenen Räumen dieser Abbaye vor. Also eine Musik zu einer bestimmten Architektur. Sehr beeindruckt war ich von den Felsnekropolen – Felsgräber die gerade genug Platz boten um die Körper der Verstorbenen aufzunehmen. Die ältesten (11.-13. Jh.) dieser Gräber sind anthropomorph, lassen die Stelle für Kopf und die Position der Schultern und Füsse erkennen (siehe Cover).
“An extraordinary structure looming over the marshlands 6 km (4 mi) north of Arles, this magnificent Romanesque abbey stands in partial ruin. Begun in the 12th century by a handful of Benedictine monks, it grew according to an ambitious plan of church, crypt, and cloister; under corrupt lay monks in the 17th century, it grew more sumptuous; when those lay monks were ejected by the church, they sacked the place. When, after the Revolution, it was sold to a junkman, he tried to pay the mortgage by stripping off and selling its goods. A 19th-century medieval revival spurred its partial restoration, but its 17th-century portions remain in ruins.Ironically, because of this vexed history, what remains is a spare and beautiful piece of Romanesque architecture, bare of furniture and art. And its cloister rivals that of St-Trophime in Arles for its balance, elegance, and air of mystical peace.”
lieu d'émission (Asstrahlungsort) | No. 1, 2, 3, 4 & 5 for piano, percussion and electronics | CD (in preparation) | see lieu d'émission no. 1 [17'53''] (embedded composition Study no. 8) (see Studien Klang | Fragment disc four) as track 9 of impossible improvisations | CD
Studies and Montage-Pieces for piano, digital piano, electronics, percussion, digital percussion, claves, double bass, violin, pedal harmonium, flute, cymbals, radio, homemade instruments, toys, cardboard horns, gurgle shells and sampler | CD | Study #1 “homicide”; Study #2; Study #3 “optimism is continuous” for John Cage; Study #4 “directed me before”; Study #5 “unconsciously calculating”; Study #6 “millions of artists create” for Marcel Duchamp; Study #7 for Allen Ginsberg; Study #8 for Jack Kerouac; Study #8a; Study #9 “the divorce of State & industry” for John Cage; Study #10; Study #11; Study #12 “do fish run out of patience?”; Study #12a
“Das Fragment ist kein bestimmter Stil und kein bestimmtes Scheitern, es ist die Form des Geschriebenen.” — Jacques Derrida, Die Schrift und die Differenz, S. 111
“Nur in der Fragmentation wird die unausmessbare Totalität lesbar. So begegnen wir dem Fragment denn auch stets mit Bezug auf eine erdachte Totalität; solche Totalität stellt es jeweils vor in einem überkommenen, einem erklärten Teil, und gleichzeitig wird es, durch seine wiederholte Bezweiflung des Ursprungs, an dessen Stellt es sich setzt, seinerseits zum Ursprung jedes möglichen, jedes aufweisbaren Ursprungs.” — Edmond Jabès, Es nimmt seinen Lauf, S. 54
Montage for Piano and Tapemachine (for Luc Ferrari)
The Invisible Masterpiece for piano and orchestra, 4
MiniDisc players and khene (Laos) | CD (in preparation)
espacement (Zwischenraum, Durchschuss, Spationierung) | No. 1, 2, 3 &
4 for piano, percussion, toys and electronics | (in preparation)
Early tape-experiments & collage pieces | CD (in preparation)
Silence/Stories | was planned as a new part of the Uglybeautycage (Dialogue with John Cage) project | online concept | participants/contributors: Participants/Contributors: Miekal And, Yassine Aissaoui, John M. Bennett, Anne Bichon, Stephanie Boisset, Arthur Chandler, Claude Chuzel, Thanos Chrysakis, Lowell Cross, A. P. Crumlish, Alvin Curran, Doyle Dean, James Drew, Jude D'Souza, Karlheinz Essl, Raymond Federman, Jesse Glass, Hans Ulrich Gumbrecht, Peter Gutmann, Gordon Hempton, Martin Hawes, August Highland, Justin Katko, Matthias Kaul, George Henry Koehler, Richard Kostelanetz, Tamara Lai, Fabien Lévy, Ralph Lichtensteiger, Ian S. Macdonald, Mike Pearson, Harry Polkinhorn, Friedhelm Rathjen, Lothar Reitz, Mitchell Renner, Terry Rentzepis, Kathleen Ruiz, Mike Silverton, Damon Smith, Rod Stasick, Beat Streuli, Lun-Yi Tsai, Lawrence Upton, Tracy Youells, Dan Waber, Louise Waller, Sigi Waters (soon), Todd Weinstein, John Whiting ... | independant concert and visual projection based on accumulation of the silence/stories text material and composition for piano, percussion and 2 female voices | (in preparation)
2003
Continues the Uglybeautycage (non-semantic mushroom texts) project
Toy Symphony (work in progress) | CD (in preparation) — uglybeauty_texte.pdf
Impossible Improvisations I, II & III; | 1st construction for one percussionist and piano | 3rd construction for one percussionist and piano | violin piece IV (2nd version) | lieu d'émission (no. 1) for Jacques Derrida, first version of voyage acoustique (see sonorité sans mémoire CD), composed 2004 | CD
Study #1 (“Mother said that's not all” for John Cage); Study #2; Study for Piano #1; Study for Piano #2 (for Allen Ginsberg); Study #3 (for Jean-Paul Sartre); Study #4; Study #5; One-two-three-four (for György Ligeti); Study for Vibraphone #1; Study #6; Study for Piano #3; Landscape (one); between|ashes (part 1); between|ashes (part 2); Study for Vibraphone #2; Emptiness that surrounds
(for Henry D. Thoreau, text: Thoreau cut-up as part of Thoreau kills Buddha) | CD
2002
Music in three Parts (for Toru Takemitsu) | CD | Part I · flute,
xylophone, gong & percussion | Part II · flute, double bass,
glockenspiel & gong | Part III · flute, guitar, violin, glockenspiel
& triangle
“A sound is undoubtedly a living thing. It is like nature that has no individual. As transformations of the wind or water are complicated, a sound becomes rich or even poor. That depends on how deep our sensitivities accept sound.”— Toru Takemitsu
Do You Think Cage I, II and III for speaker, piano,
percussion, recorded environmental sounds and electronics
From here to emptiness for double bass, percussion and piano | CD
finishing Uglybeautycage (miswordings) | fifty-three
mushrooms | fifty-three pieces for voice and instruments
Catalog The Spectropoetics of John Cage for the Uglybeautycage project
Nothingness & Creation (poetry) | CD (in preparation)
Thoreau kills Buddha | see emptiness that surrounds and Study Pieces 2002 & 2003 (with George Koehler) | CD
John, can a photograph be lonely? (Thoreau meets Cage)
see From here to emptiness & other compositions| CD
Study for Piano
Three pieces for double bass solo (for James Tenney) | CD (in preparation)
A Taste for the Secret (with George Koehler) | (fragment) | CD (in preparation)
1-440 for speaker, piano and percussion | Acrobat Reader pdf.: 1 to 440.pdfand Acrobat Reader pdf.: 1 to 394.pdf
Elevator Geography (poetry) | Acrobat Reader pdf.: elevator geography.pdf
A Crouwn of Feathers (for Pierre Boulez) | for piano, two flutes and percussion | see Music in three Parts (for Toru Takemitsu) | CD
Unknown Centers for piano, modified e-piano, double bass, glockenspiel, guitar, timpani, bowed gong, electronics & percussion | CD
Typographic Sound (for Michel Leiris) | for piano, double bass, timpani, xylophone, eating, whistle (speaking), hooter, radio, flowerpots, percussion, electronics & turntable | CD
Newark Airport for double bass, whistle, embouchure, glockenspiel, gong & turntable | CD
Sound Lecture pieces I, II, IIIa for piano, electronics, percussion, gong, gurgel shells, radio, turntable and computer | CD | “One would like to say: The imaged is in a different space from the heard sound. (Question: Why?) The seen in a different space from the imaged. Hearing is connected with listening; forming an image of a sound is not. That is why the heard sound is in a different space from the imagined sound.”— Ludwig Wittgenstein, Zettel (622), p. 109e
Pastorale I (for Henry D. Thoreau) | for voice, piano, phone, radio, glockensp., timpani, double bass, whistle, hair blower, water basin, gong & percussion | CD
Pastorale II for piano, speaker, percussion and flute
| (in preparation)
The Second yEar for piano and timpani | Study (for Harry Partch)
Temperature (for J.C.) | for prepared piano, double bass, gong, glockenspiel
and flute | CD
Around 1913 (for Ad Reinhardt) part I | for double bass and electronics
| CD
2001
101 Questions and Answers regarding John Cage | text and music | online
project | 2 CDs
musique trouvé | tape, electronics, soundclopedia, musique concrète
| CD edition (in preparation)
mushroom music | (in preparation)
Music for Mark Rothko (Layers I, II, III) double bass, violin, mod. violin, flute, gong, bowed gong, xylophone, glockenspiel, triangle, electronics & percussion (version for orchestra) | CD | Bewegung und Ruhe
“Kunst ist für mich eine Angelegenheit des Geistes und das einzige Mittel, den Sinn in seinem Wechsel von Bewegung und Ruhe fassbar zu machen.” — Mark Rothko in Anne Seymour, Beuys/Klein/Rothko, Stuttgart 1988, S. 12
Hier habe ich versucht mit Klangschichten zu arbeiten. Auch hier gibt es einen räumlichen Bezug. Stelle mir verschiedene reale Räume vor, in denen jeweils eine Klangschicht (Layer) klingt, wobei diese jeweils wie Licht auf die Nachbarräume ausstrahlt (lieu d'émission).
Louis Mink Duos (with George Koehler) | see Expression Theory | CD
1 to 16 (2nd version) for three voicec, amplified violin,
electronics and percussion
1 to 23 (2nd version) for voices, amplified violin and two CD-player
Violin pieces I, II, III (for Samuel Beckett), IV, V, VI, VII | 2 CD set
(in preparation)
2000
Permutations | text and music pieces | CD (in preparation)
Grotesques for piano, percussion, vibraphone and electronic sound system | CD | Violin Pieces IV, VII, IX | Piece for double bass n°3
Music for Merce Cunningham I (2000) | CD (in preparation) | Listen to the piece at archive.org :: “Music for Merce Cunningham I” composed in 2000 for double bass (bowed and plucked) and live-tape with pre-recorded seep, dropping water sounds, marker (felt tip pen) sounds, and (mirror reflex) camera release sounds. The piece represents a “sound track” for an imaginary dance choreography. I see the stage in clear, bright light. No dramatic turnarounds, no expressivity, no impatience, just sound, light, motion and independency
Instruments | espace · formlessness | dépolarisation : one · two · three | tranquillité · en mouvement | CD | L’archéologie sonorité. Correspondence between note, key, and color. Complexes of sounds correspond to complexes of colors. Lighter shades in the high octaves, and darker shades in the low octaves. Coquillage et crypte. Dissociation, consonance, dépolarisation. Espacement, espace intermédiaire, interspace. Tranquillité, mémoires sonorité. Wide interval, the process continues. | Ralph Lichtensteiger: piano, percussion, double bass, prepared violin, timpani, claves (palitos), glockenspiel, tempelglöckchen, gong, turntable, computer generated sounds, recorder, soda bottle, marker (writing) and eating | George Köhler: flute, acoustic guitar and violin
“What, then, is time? I know well enough what it is, provided that nobody asks me; but if I am asked what it is and try to explain, I am baffled.” — Saint Augustine, Confessions, book 11, 28
“What is happening to us when we are experiencing music? Something quite complicated on a variety of levels, but all of them connected with the fact of sound. It is this fact of sound itself which first requires description. We can talk of sound existing out there. On a mechanical level, certain objective characteristics of our universe impinge on us, so that sound can be described in terms of physical events and mathematical calculations. But that does not complete a description of sound. We can talk of sound entering our awareness. On a physiological level, our ears, our nerves and our brains process sound as subjective responses which vary with different people, though always within the mechanical possibilities of that physical universe of which we too are parts. And this, again, does not complete a description of sound. We can talk of sound becoming sense. On a mental level, the psyche exerts an influence which includes not only rational but also irrational elements, as our entire human dilemma today makes evident; but then so also do the glorious irrationalities of art. Sound on a mental level can serve for speech and other forms of communication, including music. We can call music an experience of mind and body, a psycho-somatic experience, from which we should not wish to be deprived either of the mental or of the bodily sensations. It is true that we can sometimes enjoy music through the mind alone, but that is only in so far as we can recall having enjoyed it previously through the ears in the ordinary way. In short: to complete a description of sound we have to include everything that we are making of it through past and present associations and expectations, which in turn are linked with past and present feelings and intuitions.” — Robert Donington, MUSIC AND ITS INSTRUMENTS, (Methuen & Co. Ltd. New York, 1982), p. 1
devellopment of visual concept for Uglybeautycage (Dialogue with John Cage), first live realisation of parts of Uglybeautycage | see Zeil 5 live concert | 2 CDs
Studio version (realisation with ProTools software) of the first part of Uglybeautycage (Dialogue with John Cage) | CD one | CD two
Study for piano and percussion | see From here to emptiness | CD
Funeral Orchestra & Other Duos (with George Koehler) | CD | 1 Funeral Orchestra | part one | text by George Koehler | Foreward Into Light (version A, text by Henry Alford) | Foreward Into Light (version B) | Eat More Grease (version A, text by Allen Ginsberg) | Eat More Grease (version B) | Flatiron one | Flatiron three | There Are No Doors (text by Raymond Federman) | musique trouvé xxxvii | Ein alter Schuh (text by John Cage) | Pilze hören (text by John Cage) | election TV cut
Zeil 5 live concert with George Koehler in Frankfurt | 2 CDs | (tapemachines, turntables, speaker, voices, percussion, MD-players, CD-players, flute, e-bass, e-guitar, violin, echopet, prepared piano, xylophone, marimbaphone, travelling sound system, toys) | see Zeil 5 concert photos
“All experience open to the future is prepared or prepares itself to welcome the monstrous arrivant, to welcome it, that is, to accord hospitality to that which is absolutely foreign or strange, but also, one must add, to try to domesticate it, that is, to make it part of the household and have it assume the habits, to make us assume new habits.” — Jacques Derrida, Points . . . Interviews, 1974-94, p. 387 (trans. Peggy Kumpf)
1999
Uglybeautycage (Dialogue with John Cage) | six hour multimedia piece which
includes movie projection, images, multi-layer slide projection, travelling
sound setting, piano, percussion, electronics, turntable, gongs, reeds,
whistles, xylophone, bowed e-bass, speaker, voice layers and environmetal
sound recordings — uglybeauty_texte.pdf
Studies 1-13
Configurations I-IV
Misleading Paralells I and II
Mutations I-III
dissémination I-VI
Klang | Fragment (Studien 1-13) see Studien 2000 | 4 CD set
the earLab studies
EINE WOCHE MIT HEGEL | “Hörspiel” fragment | CD (in preparation)
re-imagination dead re-imagine for narrator, tape machines and piano (body)
| based on a text by Samuel Beckett (imagination dead imagine, Residua)
| CD (in preparation)
Music for Luc Ferrari | tape study
Colors (I) for two or more femal vioces and black & white slide and/or
digital projections (see Colorworld)
Duos No. 1-45 | mixed instrumentation | CD (in preparation)
Charles Ives songs | voice and piano | CD | see Funeral Orchestra
Human Apparatus (for William S. Burroughs) for percussion, MD-player and
piano configuration
Arbeit am Mythos (fragment)
Yet another poisonous mushroom part I and II | text piece
1998
Brocken
(with George Koehler) free A-Z reference e-book on John Cage and the avant
garde | (in preparation)
Composes incidental music for the radio-play The Siddartha of Broadway by
George Koehler
1994-1997
Destruction is followed by construction and construction is followed by
destruction... | The exhibition was launched with a performance of George
Koehler's True Confessions (for ambient guitar and speaker) and wrapped
up with a performance of UNTITLED DETAILS III (version for three tape recorders)
Stage set for the music-theater piece Head on Vacation (City of the Mind)
by George Koehler (Libretto)
1992-1993
Scar | 52 drawings and tape fragments to short texts of Ludwig Binswanger,
George Koehler and Jacques Derrida
1990-1991
Cageware | The Revolution of Life and Language Vol. 1 (a study on Cage's
relationship with language and literature)
Two Existences (with Bill Kotero) | 23-hour-piano-performance, 23rd Street,
New York City | DVD (in preparation)
UNTITLED DETAILS III for three tape machines | Untitled Details III (Version für 3 Tonbänder) | “Ich habe Untitled Details für Klavier ca. 1987 begonnen. Mit der Zeit stellte sich heraus, daß das Stück keine festumrissene Komposition im klassischen Sinn werden sollte. Ich betrachte es mehr als eine Sammlung, ein Materialfundus, oder auch als ein 'work in progress'. Es kann unterschiedliche Konzeptionen und damit Versionen dieses Stücks geben, je nach Auswahl der Materialien. Zur Entstehungszeit von Untitled Details beschäftigte ich mich sehr mit den Begriffen 'offene Form' und 'Rahmenpartitur'. Ein wichtiger Einfluß für dieses Stück ist sicher die Musik von Scelsi gewesen. Sharon Kanach über Giacinto Scelsi: 'He had a favorite [game] which he enjoyed inflicting on admiring musicians who came to visit him. He would sit them down behind the piano, ask them to choose any note. Then repeat that same note twelve times, twelve different ways. His eyes glowed when the quasi-inevitable deception occured.' Die Bandversion ist sozusagen ein Trio. In dieser Realisation für 3 Tonbänder habe ich auf zum Teil schon 10 Jahre alte Aufnahmen zurückgegriffen. Zum Zeitpunkt der Aufnahmen stand mir ein Flügel zur Verfügung. Ich habe den Korpus dieses Instruments mit Filz und anderen Dämmaterialien ausgelegt und das Micro direkt in diesem plaziert. So war ich gezwungen eine sehr zurückhaltende und sensible Anschlagstechnik anzuwenden. Natürlich fiel es mir in der ersten Zeit schwer das Aufnahmegerät nicht zu übersteuern, aber nach einigen Tagen erreichte ich eine erstaunliche dynamische Bandbreite. Durch Umplazieren des Micros konnte ich ausserdem die Klangfarben manipulieren.” — RLi
Theater 26 (with George Koehler) | theater piece for
piano and narrator
I Like (with Wolfram Kiepe and George Koehler) | Text and reading piece
| CD (in preparation)
1988-1989
UNTITLED DETAILS II for prepared piano
60 PAGES for voice and piano (with George Koehler) based on texts by Samuel
Beckett, Thomas Pynchon and Laurence Sterne.
Six Compositions for piano (fragments)
Bigfoot for piano and strings | CD (in preparation)
Old Photographer Tricks for camera shutter release and prepared piano |
CD (in preparation)
1986
I did it for miscellaneous number of tape machines
I am motionless for miscellaneous ensemble | CD (in
preparation)
The Animal that Cleans Itself for 1 to 30 singer/s and 4 tape machines
Collaborates with George Koehler, multi-lingual music-theater piece, based
on Shakespeare-cut-ups that also contains aleatoric music utilizing cut-up
motifs from Elizabethan sources
1985-1986
UNTITLED DETAILS I for piano
Six Instruments
String Quartet [I]
Variations for audiotape, modified piano (body) and percussion
::: ::: :::
Dan Albertson and Ron Hannah | Living Composers Project
a Terra sacrificada · la Terre sacrifiée · the sacrificed
Earth | web concept, design & master : Tamara Lai Liège, BE 16
fev. 2006 ...
sacrifier le sacrifice sacrificing | http://tell-a-mouse.be/sacrifice/sacrifice.htm
web concept, design & master : Tamara Laï
Manhattan Box, 2004 | http://www.tell-a-mouse.be/sacrifice/contribs/r-licht.htm
art-death | enquête international(e) survey 2001/2002, Networked project,
Participative/Collaborative
web concept, design & master: Tamara Laï
http://www.tell-a-mouse.be/art/art.htm
Online project | web concept, design & master: Tamara Laï
http://www.urbangs.be.tf/
Pour faire un portrait de Dieu - To make a portrait of God | web concept,
design & master: Tamara Laï
http://tell-a-mouse.be/T-deus/T-deus.htm
pixelpress | world order
http://www.pixelpress.org/world_order/main_page.html
open call for ideas: BoundLess | Changdong Studio, Seoul
http://www.janchristensen.org/boundless.htm
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