HECKER : Recordings For Rephlex

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Format: CD [CAT181CD]
Shipping Weight: 0.1lbs
Label: Rephlex

3,280円

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'This is Vienna-based sound artist Florian Hecker's first full-length release on the Rephlex label. Hecker has been working with computer music, independently and in collaboration with other artists such as: Farmers Manual, Russell Haswell, Shunichiro Okada, Peter Rehberg, Marcus Schmickler and Yasunao Tone since 1996. Hecker's works emphasize the connection of the most recent as well as the most historic developments in computer music, hard- and software. Often working closely together with software engineers and scientists, his recent productions incorporate psycho-acoustic effects disorientating the listener's spatial perception in live presentations and studio works. He has been working on sound pieces commissioned by visual artists Angela Bulloch, Carsten Höller, Florian Pumhösl and Cerith Wyn Evans. Together with Russell Haswell, he is currently working on a compact disc with material recorded early 2004 during their research with the UPIC system at the Centre for Composition of Music Iannis Xenakis (CCMIX) in Paris. The eight pieces on Recordings for Rephlex were completed between 2002 and 2004. Although individual pieces have been produced for different occasions, all the recordings share concepts of sound generation on various time scales, down to the smallest sound particles. Superimpositions of multiple audio layers were not applied.'

1 Hénon Map & Gingerbread Man (Linear Edit) 6:26
2 Pulsar Wg'lett 3:46
3 Precedence 4:17
4 Acid 245; Ph.Inv 9T2 5:38
5 C 04 05 I_μdd 5:02
6 4G5EQ 94825492426.7531 0:55
7 In Actu (Create 7.1 Edit) 12:21
8 Wippi 2:53

Computer – Florian Hecker
Mastered By – Denis Blackham

The recordings on this album were produced and completed between 2002 and 2004. Some pieces were commissioned for different purposes,
indicated within the notes of the contained booklet.
Liner notes...

1. Hénon Map & Gingerbread Man (Linear Edit)
Starting from my previous works using dynamic synthesis for sound generation, I was intrigued to use nonlinear differential equations to generate chaotic signals. Although complex equations are frequently used in algorithmic composition to define pitch or note selection criteria, their use as a source for direct sound synthesis is rather unpopular. This recording is based on the Hénon map and gingerbreadman functions. The sonification of these equations offers a wide spectrum of sounds ranging from simple sine waves to colored chaotic noises. These are different from 'classic' noises such as white, brown or pink noise due to their features of nonlinearity and feedback.
06:26

2. Pulsar Wg'lett
This short track was produced for the second Götoborg Biennial 2002. It was generated entirely with the 'PulsarGenerator' software, a framework for a speciality particle synthesis developed by Curtis Roads and Alberto de Campo. Subsequently it was edited in a two channel audio editing software.
03:46

3. Precedence
For his 2004 Solo exhibition in Marseilles, Carsten Höller asked me to contribute a sound piece. Shortly before this invitation I started researching on psychoacoustic effects using time delay, and therefor came across the precedence effect. I produced a series of seven percussive, rhythmical tracks, eventually named Höller Tracks, all of them based on short sequences of pulsars, synthesized with 'PulsarGenerator'. The one featured on this album is the edit which was also used in the exhibition. Additionally to the constantly alternating shift between a lagging click in one channel and a leading click in the other channel, each channel was phase inverted every few seconds to add higher spatiality and increase spatiotemporal confusion.
04:17

4. Acid 245; Ph.Inv 9T2
Produced for the 3rd Berlin Biennial 2003.
05:38

5. C 04 05 I_μdd
05:02

6. 4G5EQ 94825492426.7531
00:55

7. In Actu (Create 7.1 Edit)
This piece is centered around an edit of a live performance at the Bartos Theatre, MIT Media Lab in May 2004. This recording features extensively all the processes and techniques I've been using, namely pulsar synthesis, waveset processing, dynamic stochastic synthesis and chaotic synthesis. The editing strategy I applied was made in close memory of Bruce Gilbert's albums Ab Ovo (MUTE, CD STUMM 117, 1996) and In Esse (MUTE, CD STUMM 171, 1997).
12:21

8. Wippi
02:53