Sonic Cinema - Week #8 · Friday, April 21

SONIC CINEMA - WEEK #8 · FRIDAY, APRIL 21 GENERAL INFORMATION Friday, April 21 · 20:00 - 22:00 Tickets on shotgun only - limited capacity Basement -2 35-37 Rue des Francs-Bourgeois, Paris 75004 PROGRAM SCHEDULE Friday, April 21 · 20:00 - 22:00 20:00 - 20:10 Monom Studios Recalibration (4DSOUND installation) 20:10 - 20:40 Aleksi Perälä (4DSOUND installation) 20:40 - 21:00 (20 min break) Monom Studios Recalibration (4DSOUND installation) 21:00 - 21:40 Bendik Giske (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. This Sunday, join us for a 5-hour exploration of sound and space that goes beyond music. Immerse yourself in mesmerizing soundscapes and experience two captivating sound works that will loop continuously throughout the day. Come and go at your leisure ABOUT THE ARTISTS Aleksi Perälä Hailing from Finland, Aleksi Perälä's career in electronic music began in the mid-80s when discovered the wonders of acid-house. However, his real epiphany came later in 1993 when he first heard the music of Richard D. James aka Aphex Twin whilst in Michigan, USA, as an exchange student. Unsurprisingly, the influences of that master of avant-garde electronica shine through on "Project V" as Perälä takes us through his latest creations.⁠ Aleksi has also previously made music under the monikers Ovuca and Astrobotnia.⁠ Bendik Giske Bendik Giske (NO) is an artist and saxophonist whose expressive use of physicality, vulnerability and endurance have already won him much critical acclaim. You can hear all of this in his debut album Surrender, released at the start of 2019 on Smalltown Supersound, which can be described as Giske stripped to the core: no overdubs, looping, or effects. Just his body, breath, the saxophone and a resonant physical space, plus lots of microphones. The body is important for Giske, even more so than as an acoustic musician. Not just in the strength and muscle control required to accomplish circular breathing on the saxophone, the unusual technique he employs to mesmerizing effect. It’s also reflected in the tradition of dance he practiced as a child in Bali – where he split his time between Oslo with his artist parents – and enjoyed as part of an electronic music epiphany in his adopted hometown of Berlin. And body is implied in his sense of queerness, which has helped him create his own sound, blossoming luxuriantly not only on record but also in his striking, embodied performances. As such, in the past Giske has likened his performance to transmuting electronic music through all of his human faults, akin to becoming a machine. And with second album Cracks he introduces a new set of parameters for the automated processes of his muscle memory to work against. His decision to collaborate with producer André Bratten and his extensive studio of electronic machines saw Giske play in the new‘resonant’ space of Bratten’s reactive studio tuned to his original sounds. In a sense, you could call it generative music – a term coined by Brian Eno to describe music made within a set of rules that can constantly evolve within that system. But here the only algorithms at work are responding to Giske’s self-imposed constraints (or parameters) – like the afore-mentioned circular breathing. As a practice, it induces in the player – and perhaps the listener, too – a kind of altered state, more open to discovery, and as a cycle of sound it defies time. This atemporality, or out-of-timeliness, hints at theorist José Muñoz’s notion of “queer time”, which is a chronology wholly other than the default. If this new studio-as-an-instrument process has brought Giske one step closer to the man-machine, it’s also a way to bridge the separation – or crack – between the two. This kind of liminal space, according to Giske, is to be treasured: “The tracks wedge themselves into the cracks of our perceived reality to explore them for their beauty. A celebration of corporeal states and divergent behaviors,” he explains. He cheerfully admits to mining the thought universe of Muñoz – especially his book Cruising Utopia – as inspiration, and the resulting Cracks have a sensual, deeply-felt and lingering beauty with a touch of the superhuman. ______________________________________________ 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 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