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3LP
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ET 785-04LP
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After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 -- until 1991 mostly together with Johan Goedhart --, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a three-LP box set edited on Apollo Records in 1986. This new three-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gatefold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. Regular version comes in an edition of 250.
"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book Long Strings 1982-2011)
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LP
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ET 628-08LP
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Carillon Sudokus is the sonic counterpart to Oog & Oor (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934-2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from Eight Double Sudokus, a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the golden ratio in much of his art because he felt that instead of limiting his artistic freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination. René van Peer describes the composition in the liner notes: "A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series." These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon, a bell tower on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Comes in full-color gatefold sleeve with printed inner sleeve; Liner notes by René van Peer; Edition of 300.
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LP
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ET 314-03LP
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2014 release. First vinyl LP edition by Dutch sound and visual artist Paul Panhuysen since 1986. In terms of sound art, Paul Panhuysen is well-known for his long string installations, yet he has produced a vast amount of other sound installations using different materials and sound sources ranging from various instruments to animals such as birds. This LP contains a recording of the installation "Pendulum Change Ringing", displayed at Pand Koloniale Waren in Hasselt (Belgium) in 2012. The installation consists of twelve engraved Turkish metal platters, each mounted onto a black plastic bin, and placed in a 20-meter long row. The rim of each platter is hit by a metal pendulum operated by a tiny electromotor. Each hit causes the platter to resonate with a rich sound texture full of dissonant overtones. During the recording, the twelve pendulums are activated one after the other. The paces at which they swing differ due to their rods having different lengths. This causes interlocking rhythmic patterns to emerge that become more complex with each step and never stay the same. Hits aggregate into clusters, then thin out again. The sound is not chaotic, yet its regularity is hard to comprehend. "You might call 'Pendulum Change Ringing' a typical Paul Panhuysen piece: it works according to a system, quite a simple one in fact, but its effect surpasses that apparent simplicity by far." - René van Peer. Edition of 300. Full-color sleeve with photos of the installation and liner notes by René van Peer. Black poly-lined inner sleeve.
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CD
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XI 122CD
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2021 restock; 1998 release. Voted one of the top 50 records of 1999 by the writers and critics of The Wire, Partitas for Long Strings is the first album in 12 years to document Paul Panhuysen's work with long string installations. Included with the CD is a 32-page booklet which details the history of Paul Panhuysen's work with installations through pictures and text. "Since 1982 Panhuysen has created over 200 such installations, playing the strings with his fingers, connecting them to pianos, letting them vibrate in the wind, always changing, always finding new sounds, and doing so with a particularly good sense of how the strings should look, and how they should relate to the architecture around them" --Tom Johnson. "Two aspects were of central interest to him: different tunings and density of sound. He made an installation in the large space of Het Apollohuis, stretching four strings lengthwise and attaching them to the wooden wall on the far end, which served as a resonator. He did not use automatons or electric amplification. He played the strings by brushing them, walking back and forth at an even pace. His aim was to make his playing as continuous and even as possible. For each partita he recorded his playing four times, superimposing these recordings over each other and listening to the earlier recordings over headphones whilst playing. The total sound of each partita is produced by sixteen strings. The three partitas differ in the systems according to which the strings are tuned. These tunings can be regarded as the score for each piece. In 'Partita I' all strings are tuned to the same pitch. In 'Partita II' and 'III' each string is tuned differently, and after each take they were tuned to new pitches... The result is a considerable difference in overall texture between the three pieces." --René van Peer
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CD
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PLONK 015CD
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...listen to'. "This work is a composition in two parts. The same magic square is transposed in two versions. One can be experienced by the eyes, the other one by the ears. A magic square is a series of numbers arranged in a square grid so that the sum of each horizontal and vertical row and of the corner diagonals is always the same. Magic squares reveal harmony of number and refer to the nature of existence and a cosmic order dominated by mathematical regularity. Number is the origin of all things, Pythagoras said, and Boethius said music is numbers made audible. Presented as a room installation, 'A magic square of 5 to look at' is a floorpiece of 5 x 5 m, and 'A magic square of 5 to listen to' can be heard through a quadraphonic sound system, performing the four staffs of the score independently, starting about 5 seconds after each other. The audience moves around the floorpiece in the space. Panhuysen (1934) is an internationally recognised artist. Best known for his site-specific long string installations all over the world, he also is involved in systematic visual art. Calculus links his visual and sound art together. Furthermore he has been the artistic director of Het Apollohuis for about 2 decades."
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CD
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APOLLO 16
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Four pieces recorded with Mexican Jumping Beans by Paul Panhuysen. "Before leaving Mexico City I bought 200 jumping beans and immediately after our return to Eindhoven I started to experiment with them. In the past I've worked often with animals, with birds, crickets and goats. I also use sensors, timers, solenoids, motors, galvano-meters, solar cells and oscillators to produce sounds. In my music I introduce both creatures and gadgets as independent and sometimes unpredictable musicians and fellow employees. I like to be surprised by the results of my productions, by the animals' behavior. The input of such rather autonomous elements helps to reveal the qualities of universal laws and conditions that define order, structure, chance and expression in a living and changing world. It is curiosity which makes my work come into being. Jumping beans are magical living creatures. I worked with them for a couple of weeks, tried out various recording modes and different effects. The final selection on this CD is rather straightforward. There are four different pieces. For each recording I put 16 jumping beans in 8 containers. Clothes-pins glued on piezo discs were used as contact mikes on each of the containers, which were placed on a sheet of soft foam plastic. The beans were activated by a halogen lamp over the table." -- Paul Panhuysen.
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