Sonic Cinema - Week #7 · Friday, April 14

SONIC CINEMA - WEEK #7 · FRIDAY, APRIL 14 FREE ENTRY + SPECIAL 4DSOUND LIVE BROADCAST FOLLOWING THE PROGRAMMING BY ADC 303 GENERAL INFORMATION Friday, April 14 · 20:00 - 21:30 Doors open at 19:50 - please make sure to arrive on time to attend the whole session Tickets on shotgun only - limited capacity Basement -2 35-37 Rue des Francs-Bourgeois, Paris 75004 PROGRAM SCHEDULE 20:00 - 20:10 Monom Studios Recalibration (4DSOUND installation) 20:10 - 20:40 Llyr (4DSOUND Installation) 20:40 - 20:50 (10 min break) Monom Studios Recalibration (4DSOUND installation) 20:50 - 21:20 Aleksandra Słyż ft. Judith Hamann & Gerard Lebik, Softness, Flashes, Floating Rage (4DSOUND installation) ABOUT SONIC CINEMA To visit Sonic Cinema is to enter a liminal zone - a ‘space of possibles’ where Spatial Sound fundamentally enhances and alters the ways stories are told and experienced. A pure sonic experience, set in complete darkness - the Sonic Film is a film that the audience inhabits and experiences with their whole body. Uninhibited by the visual sense with its defined boundaries, this new medium enhances one's physiological experience, vastly expanding possibilities for narrative creation and embodiment. Before each session you will be able to experience a Recalibration by Monom Studios to tune in your senses. This moment will serve to sharpen our attention and in particular our ability to listen more deeply, to listen with the whole body. For more information about Monom Studios follow them on instragram: @monomstudios and visit their website: www.monomsound.com ABOUT THE ARTISTS Llyr Llyr makes music and sonic ecosystems using field recordings, advanced studio techniques and classic synthesis. With one foot in the rave and the other committed to widescreen dynamics, dancefloor bangers sit side-by-side with textural ambient, sweeping harmonies and freeform electronica. A protagonist of total audio immersion, he has worked with headphone-only “3D” music as well as multi-channel surround. Llyr’s debut LP on Max Cooper’s Mesh, ‘Biome’ is constructed from a library of sounds collected in the rainforests of Borneo – an expansive documentation of natural beauty and human interference. According to Loud & Quiet, “Llyr has mastered the balancing act of a high-concept album on his first go, an impressive ambient-techno hybrid that uses the rainforest as its playground”. This follows his contribution to Mesh’s binaural 3D Reworks series. Llyr was jointly responsible for bringing the iconic Lemur touchscreen media controller to iOS and Android, allowing countless music acts to express themselves live on stage and real-time control of immersive sound systems like 4DSOUND. Lemur recently enabled the first-ever live jam between Earth and orbit, where astronaut Dr. Alexander Gerst, aboard the ISS, performed a duet with Kraftwerk in front of a live audience. Llyr takes inspiration from the surrounding world, channelling it into evocative experiences both visceral and thought-provoking. With a focus on creating rich, layered music his work rewards repeat listens. Aleksandra Słyż, Softness, Flashes, Floating Rage, featuring Gerard Lebik and Judith Hamann On her second album A Vibrant Touch, the Polish composer Aleksandra Słyż tackles sound as a physical phenomenon, as well as the very bodily sensations caused thereby. The work identifies and explores the connections between acoustic and synthetic sounds, intertwining them into plentiful and slowly, yet intensively pulsating drone structures which resonate within the space they fill up. The sound locomotes and flows in form of ruthless energy tides, it vibrates generating nearly electrical tensions, immersing the listener and letting them experience the sound in its pure, physical shape. The album, however largely synthetic, engages a magnitude of acoustic instruments, which according to the artist herself, incorporate the concrete movement and the force that she strives to capture in music, doing so through the way they produce sounds. Examples of these can be a finger or a cello bow pressing on a string, the pressure made by the instrumentalist blowing air into their saxophone. The creations to be found on the record are inspired by twentieth century’s spectral composers such as Grisey or Scelsi, as well as more contemporary creations based on microtonal systems, which have allowed the artist to create her own musical syntax consisting of dissonance, tension and pulse, all swathed in unprecedented grace and power. This time, on CTM’s request, Judith Hamann on the cello and Gerard Lebik on the alto saxophone will be invited to perform Softness, Flashes, Floating Rage together with the artist on modular synthesizers. The piece is the last composition on the album and will be presented in a multichannel format using the 4DSOUND system at the Berlin MONOM studio. Aleksandra Słyż is a Polish composer, sound artist and sound engineer. Throughout her recent live performances, Słyż has been exploring connections between acoustic instruments and modular synthesizers, creating rich and diverse drone structures which highlight the power of microtonality’s resonances and tensions. Interactive sonification systems are another large part of her artistic practice. Since 2017 she has been conducting artistic research, which applies practical experiments on movement sonification and different types of interaction. Her works have been presented at various music & film festivals in Europe and USA, including Avant Art, Kiev Music Festival, NODE, ORF musikprotokoll, Open Source Art Festival or Unsound. www.aleksandraslyz.com www.soundcloud.com/aleksandra_slyz www.slyzaleksandra.bandcamp.com www.instagram.com/aleksandra.slyz Judith Hamann is a renowned cellist, performer, and composer from Melbourne, Australia. Their work spans performance, improvisation, electro-acoustic composition, and micro-tonal systems, exploring generative sites of instability and movement. In their recent research, Judith examines shaking, humming, and 'collapse' as formal and intimate encounters, and challenges the boundaries of instruments through process-driven and embodied practices. They have collaborated with other artists such as Marja Ahti, Éliane Radigue, and La Monte Young, and their work has been published by notable labels such as Black Truffle and Another Timbre. Judith holds a Doctor of Musical Arts from UC San Diego. Judith likes working with and thinking-with other artists which has included people like Marja Ahti, Oren Ambarchi, Joshua Bonnetta, Dennis Cooper, Charles Curtis, Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, Alvin Lucier, Éliane Radigue, Anike Joyce Sadiq, and La Monte Young. Judith’s work has previously been published by labels including Blank Forms, Black Truffle, Another Timbre, Longform Editions and Second Editions. Judith holds a Doctor of Musical Arts from UC San Diego. Gerard Lebik is a sound artist, musician and curator active in the field of experimental, improvised and intermedia music. His music, installations, and sound interventions in public spaces are based on white noise, sine waves, feedback, binaural and multi-channel sound, using computer synthesis, acoustic generators, saxophones, compressed air, medical tools, and DIY objects. Explores heterogeneous sources and research methods of audibility focusing on issues such as the perception and propagation of sound waves, time disorder, psychoacoustic, or sound relationships with architecture and urban context. Founder and artistic director of Sanatorium of Sound Festival in Sokołowsko - festival focused on experimental music and the broadly understood fields of sound and sonic art. Lebik appeared at TPAM (Yokohama, JP), TodaysArt Festival (Hague, NL), Biennale (Zagreb, HU), Tokyo Jazz (Tokyo, JP), Festival Umbrella (Chicago, US), Experimental Intermedia (New York, US), V: NM-Festival (Graz, AT), Bienalle Wro (Wrocław, PL), Konfrontationen (Nickelsdorf, AT), hcmf (Huddersfield, UK), Audioblast (Nantes, FR), Kunsthalle (Basel, CH), SuperDeluxe (Tokyo, JP), Ftarri (Tokyo, JP), KM28 (Berlin, DE), Fylkingen (Stockholm, SE), and has collaborated and performed with: Keith Rowe, Phil Minton, Ryoko Akama, Burkhard Beins, Noid, Lucio Capece, David Maranha, Peter Rehberg, Kasper T. Toeplitz, Paul Lovens, Kazuhisa Uchihashi, Jérôme Noetinger, Zbigniew Karkowski. https://gerardlebik.net/ http://sanatoriumofsound.com/ ______________________________________________ FAQ What is SPATIAL sound?⁠ Spatial sound is a term to describe the way we have evolved to perceive space through sound - it refers to the way we hear sound naturally in the world around us, in all its complexity and depth. From above, below, around us, through and within us. The perfect spatial sound experience is the one we experience every day. When we refer to spatial sound technology, this is technology that aims to recreate this effect.⁠ ______________________________________________ PLEASE NOTE We advise coming 10 prior to the start of the sessions to enjoy a Recalibration by Monom Studios For a better experience we recommend having cell phones turned off as light can distract from the experience. If you need to leave the room in the middle of the session, please do so in silence. No cash accepted for the tickets, all the tickets are sold only on shotgun. Possibility to buy directly at the beginning of the event on shotgun. Spatial Sound by MONOM Studios Production: 3537 Technology: 4DSOUND Thanks to Dover Street Market Paris Visual identity by Studio Doppelgänger