Steven Turner just alerted me that the website for the short films showcasing the Acoustics teaching instruments is now online! I was commissioned by the film makers to create 2 short themes for intro/outro credits.
You can see just some of the amazing instruments I was able to work with during my Fellowship.
“The Smithsonian’s National Museum of American History houses literally millions of objects which preserve and illustrate our nation’s rich history. Among the many stories that these objects tell are the ways that Americans have learned about science. This site is designed to help students and teachers explore a unique and beautiful collection of instruments used to teach Acoustics – the science of sound. These historic instruments were designed to be engaging and to challenge students to think in new ways about the physical world. In our experience they still retain this power and can provide a uniquely effective way to engage modern students with science and the process of scientific inquiry.”
I am currently busy busy again editing the sound files… still 200 to go!
Edition of 500
April 12, 2011
In a special live performance in the Ring Auditorium at Hirshhorn Museum and Sculpture Garden in Washington, DC on October 7, 2010, Chartier premiered the first version of a new work: Transparency. This performance was inspired in part by the Hirshhorn’sColorForms exhibit, a collection of works by artists including James Turrell, Fred Sandback, and Olafur Eliasson, showcasing the use of abstract form to explore color’s evocative possibilities, from the purely optical to the metaphysical. Transparency is created from just some of the myriad delicate recordings made during his Fellowship of the Grand Tonometer, other large tuning forks, metal and wooden resonators, and wood organ pipes by Koenig and his contemporaries.
In late 19th-Century Paris, scientific instrument makers like Koenig were still referred to as philosophical instrument makers. It was possible for the public to visit their studios for musical/sound “séances”—gatherings in which the maker’s tools and materials would be presented for experiments and debate. Perhaps Transparency can be seen, in some ways, as a “sound séance” for a digital age.
Transparency (Performance) is intended as the first in a series of upcoming studio and installation works based on Chartier’s Smithsonian Artist Research Fellowship recordings.