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Guy Fleming - Confined Entropy album FLAC

Guy Fleming - Confined Entropy album FLAC
Performer: Guy Fleming
Genre: Electronic
Title: Confined Entropy
FLAC album size: 1567
Style: Experimental
Released: 2017

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The Confined Entropy Project – by Guy Fleming This music is largely inspired by the strange and mystical atmosphere that surrounded the impressive crumbling ruin of the Pyrmont Incinerator in Sydney in 1990. I took many photographs and recorded a number of sound sources at the ruined incinerator, which formed the basis for many of the Confined Entropy audio compositions. Previously in 1989, I backpacked through Europe, mostly travelling around the UK, Germany and Austria

Guy is the 1988 eponymous debut studio album by American R&B band Guy. Released on June 13, 1988 by Uptown Records, It was produced by group founder Teddy Riley and manager Gene Griffin. The album peaked at number 27 on the Billboard 200 chart. In July 1994, it was certified double platinum by the Recording Industry Association of America, for shipments of two million copies in the United States.

Entropy by Sam Fleming, released 27 January 2014 These ravens are leaving your tower, This is the end of all your power, The monarchy is dead, Off with their heads The Tories on the throne again, Bending will to evil ends, We’ll riot on the streets of Bow, This government we'll overthrow We say ‘No’ It's ecstasy entropy, you can't control me, This is your hypocrisy, of your meritocracy The banks will take and take and take, And corporations zero rate, Privatise our welfare state, Then make the poor the reprobates We'll suck and suck this planet dry, Mother Nature’s left t. .Got it. + add. album.

In thermodynamics the entropy of mixing is the increase in the total entropy when several initially separate systems of different composition, each in a thermodynamic state of internal equilibrium, are mixed without chemical reaction by the thermodynamic operation of removal of impermeable partition(s) between them, followed by a time for establishment of a new thermodynamic state of internal equilibrium in the new unpartitioned closed system.

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We use molecular simulation to study the ability of excess entropy scaling relationships to describe the kinetic properties of a confined molecular system. We examine a model for a confined fluid consisting of dumbbell-shaped molecules that interact with atomistically detailed pore walls via a Lennard-Jones potential. Our results indicate that a version of the excess entropy that includes information related to the one-body correlations in a confined fluid serves as the best scaling variable for dynamic properties. When adopting such a definition for the reference state, to a very good approximation, bulk and confined data for a specified dynamic property at a given temperature collapse onto a common curve when plotted against the excess entropy. Download full-text PDF. Source.


1 Primal 7:15
2 Inner Darkness 10:07
3 Cut Into The Present With The Voice Of William Burroughs 9:27
4 Microtonal Quintet 7:48
5 Subliminal Vistas 8:52
6 Kinematic Study 4:05
7 Microtonal Adagio 5:54
8 Decaying Silence 4:51
9 Epilogue 6:05


The Confined Entropy Project – by Guy Fleming
This music is largely inspired by the strange and mystical atmosphere that
surrounded the impressive crumbling ruin of the Pyrmont Incinerator in Sydney
in 1990. I took many photographs and recorded a number of sound sources
at the ruined incinerator, which formed the basis for many of the Confined
Entropy audio compositions.
Previously in 1989, I backpacked through Europe, mostly travelling around the
UK, Germany and Austria. While in Austria, I decided to attend a music festival
called ‘Absolute Musik’, which was held over a few days up in the northwest of
Austria in the ‘Waldviertel’ in a small town called Allentsteig. There I met many
local and international composers and forged a number of enduring friendships
and influences, including Guenther Rabl and Wolfgang Musil. During my travels
in 1989 around Austria and especially Berlin, where the infamous wall was still
in place, I drew on a lot of inspiration and ideas for music and photography
which I called on when I returned to my home in Australia.
Early in 1990, I had also been introduced to Tony Rapson-Coe who was ­seeking
musicians to utilise a special microtonal scale, called the ‘Lucy’ scale, in a small
ensemble of electronic keyboard, violin and electric guitar. Tony was a musical
‘enthusiast’ and not a musician. There was even a reworked Gibson SG guitar
made available for the guitarist, Lenny Marks. This custom guitar was quite
impressive, having 25 frets to the octave. Being a keyboard player who was
interested in experimental music and alternative tunings, I was keen to get
involved. For various reasons, the ensemble did not last long, and I proposed a
solo project based on some ideas about entropy or decay and music that I had
already been working on. Tony booked some recording time at the EMI Studios
301 recording studios and the rest is history.
The Lucy scale is a microtonal tuning system developed by Charles Lucy.­
Lucy ­derived the ideas for his tuning system from the writings of the famous
English clockmaker, John Harrison (1693 –1776), who was very interested in
temperaments and concepts of perfect tuning. Harrison also wrote about the
use of Pi as a means to derive musical scales utilising the natural ratios of nature.
For Confined Entropy, a 25 tone scale with two different intervals was used to
tune the instruments and sound sources.
The Confined Entropy pieces were recorded over a couple of long days at the
EMI Studios 301 in Pitt Street Sydney and later mastered to beta tapes and DATs
in the EMI mastering suite. At this time, the recordings were made on the latest
digital tape based technology – a 32 track Mitsubishi reel to reel tape machine.
An automated Neve mixing console was used to input the various sound parts
and instrument tracks and mix down for final mastering. The digital master
tapes did not become available to me for a few years due to a falling out
with Tony. Eventually I did get access to the original digital masters after Tony
died. Guenther Rabl later invited me to the third Absolute Musik Festival in
Allentsteig 1996, to air some of these Confined Entropy pieces for the first time.
The Pyrmont Incinerator – a temple of fire
I first came across the spectacular decaying ruin of the Pyrmont Incinerator in
1989. I returned again and again to photograph it, right up until its eventual
demolition in 1992. It formed a key part of my inspiration for the ‘Confined
Entropy’ microtonal music pieces composed in early 1990.
Many aesthetic aspects of the building reminded me of the work of the Swiss
artist H R Giger. I eventually amassed a large archive of several hundred photo­
graphs, many of which I sent to friends here and overseas. All people who
view these photographs are impressed by the incinerator’s powerful aesthetic,
apparently transformed by its ruin into a temple of fire.
The building seemed like some fantastic industrial temple from a romantic
almost Blake-ian past. The building was designed by the husband and wife team
of Walter Burley-Griffin and Marion Mahoney-Griffin, between 1932 to 1935,
both of whom were architectural disciples of Frank Lloyd Wright, and are well
known as the designers of the Australian Federal Capital, Canberra, Australia.
They designed twelve incinerators in Australia for the Reverberatory Incinerator
and Engineering Company (RIECo) from 1929 to 1937. The Pyrmont Incinerator
design is and was considered to be the most outstanding of the incinerators,
recognised internationally for its architectural significance. Pre-cast decorative
concrete tiles applied to its exterior in a four-themed textural system based
on the four elements were inspired by Mayan designs.– The Griffin’s aesthetic
intentions for this incinerator went far beyond the utilitarian.
By the time of my arrival, the building’s utilitarian function had been over-
whelmed by its aesthetic origins. To me it appeared far more anachronistic.
It was reverting back to its Mayan origins under dutiful obeyance to the four
elements, as if pre-ordained. G.F.All music composed by Guy Fleming 1990. Recorded and mastered at EMI
Studios 301 in Sydney, Australia in May 1990 on 32 track digital tape. Music
performed by Guy Fleming using an Ensoniq EPS-M sampler and Ensoniq VFX
synthesiser. ‘Lucy’ guitar on ‘Inner Darkness’ by Lenny Marks. Engineered by
Guy Gray. Voice citation on ‘Cut into the Present’ William Burroughs.
All instrumentation tuned to a 25 tone unequally tempered scale, commonly
known as the ‘Lucy’ scale (developed by Charles Lucy based on the writings
of John Harrison). Thanks to Tony Rapson-Coe for supporting this project.
Acoustic material for sound samples recorded at the Pyrmont Incinerator in
Sydney 1990.
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