Call & Response are pleased to host a listening experience featuring artists from the LINE imprint.
Since 2000 the LINE imprint, curated and art directed by Richard Chartier, has continued to publish documents of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism as limited edition Compact Discs and DVDs.
As a part of our collaboration with LINE, Call & Response will feature works from the following artists in 3D sound at our space at South London’s Enclave:
In 2000, LINE began with Series by Richard Chartier, a work described by The Wire as: “it’s worth stretching the ears in search of Chartier’s sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows.” Since then, this work has remained unperformed, often “unperformable” due to live environments’ noise and audio system limitations.
In 2011, Chartier began a series of new works, Recurrence, the first revisiting Series‘ elements and reworking them into entirely new compositions. Drawn to the original sounds Chartier felt that they could be re-composed. The form they have taken contains isolated and discreet events strewn across the sound field, creating a strange landscape and altered sense of space.
Prompted by an invitation to perform in the ideal and intimate listening environment of artist/curator France Jobin’s Immerson event at the renowned OBORO in Montreal, Chartier was finally able to present the subtlety of this new Series, “Recurrence (series)” in two parts. Working at OBORO with their Head of Audio Research, Stephane Claude on its spatialization. Chartier finally presented versions of piece live in a multi-channel diffusion on November 17 and 18, 2011.
The Recurrence works are a continuing reflection on major aesthetic elements of Chartier’s artistic language as it has evolved through the years. This is Chartier’s first new solo studio album since 2010’s Fields for Mixing (Room40, Australia).
El Parque Está Situado En Su Propia Casa www.lineimprint.com/editions/digital/line_061/
El Parque Está Situado En Su Propia Casa (the park is situated in it’s own house) is the result of a residency I participated in through March 2012 at Campos de Gutierrez, Medellin, Colombia where all 8 artists-in-residence exhibited works in one of the city’s more central art space, Plazarte. My piece began as a performance on the exhibition’s opening night, using objects and recordings from Campos de Gutierrez. During the performance, and using transducers, I played sounds through an old guitar from Campos de Gutierrez and an oil drum found at Plazarte, both suspended from the ceiling. For the remainder of the month the piece continued to be exhibited in this way, playing subtle sounds captured during the performance and around the residency house through the objects.
Composed from field, performance and installation recordings from Campos de Gutierrez and Plazarte, both in Medellin, Colombia, March 2012.
Thanks to Andres, Chris, Alejandro, Bjork, Luke, Elisabeth, Aurelie, Juliana, David, Miguel, all at Plazarte and Campos de Gutierrez and Richard.
P Orbital was originally released on LINE_54 in 2012, as part of the album Valence.
Valence is inspired by both the valence bond (VB) and molecular orbital (MO) theories.
An atomic orbital is a mathematical function that describes the wave-like behaviour of either one electron or a pair of electrons in an atom. This function can be used to calculate the probability of finding any electron of an atom in any specific region around the atom’s nucleus. The term may also refer to the physical region defined by the function where the electron is likely to be.
Often, my compositions start with a feeling or emotional state. There is a likelihood of finding a certain emotion in a piece, but it is not guaranteed, nor do I know exactly when or where I will find it. The act of looking for that emotion in of itself will distort it. Although one would think experimental music grants complete freedom, when composing, I feel constrained by both my mental state and the way in which I build the piece.
I find an unlikely parallel in quantum theory and composing. The electron that can exist on a different orbital plain can never have its velocity measured or even its exact location known, due to the intimate connection between particles and waves in the wacky world of subatomic dimensions. All sounds recorded at various locations in North America and Europe.
Relocation.Vacant (14ch) www.yannnovak.com/works/installation/relocation-vacant/
As its point of departure, Relocation.Vacant uses the sound of the empty loft Novak lived and worked in for over four years. Presented in an empty gallery with nothing to obscure or hide the equipment used to produce the piece, Relocation.Vacant exaggerates the cavernous feelings of the slow dismantling and eventual erasure of the dweller’s personality from a space.
Relocation.Vacant (14ch) represents an extract from the original installation and expanded to 14 channels.
Seventh Dream www.lineimprint.com/editions/cd/line_047/
Stephan Mathieu is a self-taught composer and performer of his own music, working in the fields of electroacoustics and abstract digitala. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Painters Mark Rothko, Barnett Newman and Ellsworth Kelly. During the last decade Stephan’s music has been released on 35 vinyl records and CDs, both solo and in collaboration with Akira Rabelais, Taylor Deupree, Robert Hampson, Sylvain Chauveau, David Sylvian and others on electronic music labels worldwide.