Richard Chartier
Transparency (Performance)
LINE_049 (www.lineimprint.com)
CD
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.

and don’t forget the free performance “Transparency” at the Hirshhorn Museum and Sculpture Garden on October 7

Afterward Steven also demonstrated for me a chladni plate in action for me. Named after Ernst Chladni, an 18th century German physicist and musician, the Chladni plates one of the early examples of experiments showing that sound was a wave and not a particle. There are many fascinating variants of this device and video examples of patterns online. Look at those particles dance!

Later in the day it was off to the Hirshhorn Museum and Sculpture Garden to meet with Milena Kalinovska and Sara about the planning and technical logistics of my Oct 7 performance at the museum titled Transparency. This will be my first Washington, DC concert since 2006. I will be premiering a new work inspired by the ColorForms exhibit. Transparency utilizes some of the myriad delicate recordings made during my Smithsonian Artist Research Fellowship.

Ryan Hill at the Hirshhorn is planning a podcast with Steven Turner and I about this project and the upcoming performance in the next few weeks.

It was (and continues to be) a fascinating and fruitful experience. I plan on continuing to work with Steven Turner and the collection. He keeps finding new things for me to explore and record. We plan on visiting offsite storage this Fall and check back for more on that.

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A huge THANK YOU goes out to all involved in making this Smithsonian Artist Research Fellowship happen, including Steven Turner, Linn Meyers, Milena Kalinovska, Evelyn Hankins, Stacey Kluck, Minoru Hatanaka, Tony Myatt, Jesse Doris, Soko Hirayama, Bruce Morrison, and all the Fellowships office. And a special thank you to my partner Robert Eckhardt for his support and belief in me, before and during my Fellowship (and of course for setting this blog up!)

I also did some recordings of several combinations of larger tuning forks attached to resonating boxes. including this one: variousforks

All of these materials will be great to work with while creating the upcoming live performance piece.

Stephen also showed me one of the latest acquisitions to the collection… a pair of sound mirrors. beautiful!

I packed up my recording equipment that was set up in the basement studio. It was rather poignant… goodbye little studio.

I recorded a variety of beautiful sonic interactions of these very large tuning forks, double forks and resonating tone boxes.

Here is an example of recording of the two largest forks along with one of the double forks together. I have removed the initial strike sound on them. biglargedouble

Eager to record, I confidently pushed my little cart of tuning forks to the basement of the Smithsonian to the studio. When I got there I found two conference rooms nearby (one on the hall where the studio is located) were having meetings (something that I have not seen since I started this project). Needless to say I could not record until they finished.

I recorded five forks after they left and then loud banging, yelling and dragging of things could be heard in the studio. I went down the hall and around the corner to find a crew of very pleasant Smithsonian workmen dismantling and moving office cubicles, equipment, file cabinets, etc onto carts. I spoke with the woman who was in charge and asking how long she thought they would be doing this today. “we should be done in about 45 minutes… but on Monday they are starting demolition and construction in this area.”

WAIT. DID I MAKE IT JUST IN TIME? The final day of recording of the Grand Tonometer is the last day before CONSTRUCTION noise starts?!

While I waited for an hour I took some extra photos of the final highest tuning fork. Am I looking at aggressively or lovingly… you be the judge.

And finally the recording is done! (now to editing the 550 files still remaining).

Steven Turner came down to the studio to be a part of the recording of the final tuning fork (8192vs). We were talking about exhibiting the Grand Tonometer and he reminded me that it would have been on display during the 1970s in the old Smithsonian Arts and Industries building. He told me where it was displayed in a glass vitrine. Upon hearing this, memories of going to this museum as a child flooded back and I now actually vividly remember seeing the Grand Tonometer at least once on my many visits there. wow!

(row18) 7612-8192vs complete.
grand tonometer fork 8192vs

VIDEO: waveformvisualizer

Today was quite productive with another 100 more raw recordings of the tiny tuning forks. only 50 tuning forks to go… Friday. wish me luck.

I recorded two rows today: ( row 16 ) 6412-7000 vs and ( row 17 ) 7012-7600vs
grand tonometer fork 7000vs
grand tonometer fork 7600vs

Steven Turner told me of his trip to Ohio last week to collect some additional pieces for the collection. I am very excited to see them when they are unpacked. He was even interviewed on TV about these 171 additions to the collection.

We discussed some experimental recordings that I would like to do after the Grand Tonometer raw recordings are completed. We also discussed my proposed project utilizing the Grand Tonometer recordings to create an interactive and generative sound installation with the amazing British artist (and good friend) Mark Fell. Mark is one half of SND and I have released several of his works via my label LINE. Take a look/listen to his work and you will see why this is perfect material with which for us to work.

Today was quite productive with another 100 more raw recordings of the tiny tuning forks. Note to self: do not wear a shirt that crinkles when I move! Three more rows and 150 tuning forks to go…

I recorded two rows today: ( row 14 ) 5212-5800vs and ( row 15 ) 5812-6400vs
grand tonometer fork 5800vs
grand tonometer fork 6400vs

I now have 110 finalized audio files. (but I still have 250 tuning forks left to record!)

I recorded two rows today: ( row 12 ) 4096-4600vs and ( row 13 ) 4612-5200vs
grand tonometer fork 4600vs
grand tonometer fork 5200vs

Some findings/discrepancies… row 12 is missing seven forks. 4336 is stamped as 3336. 4348 stamped as 3348